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Plant .  .  Parlin,  N.  J.  Hollywood  .  .  •  California 


BETTER  THINQS  for  BETTER  LIVINQ  through  CHEMISTRY 


/ 


January,  1938      •      American  Cinematographer 


unharmed  by 
800-foot  fall! 

Eyemo  Camera  Dropped  by  Newsreel 
Cameraman,  Al  Mingalone,  in  Sensational 
Runaway  Flight  Recovered  Uninjured 


•  The  press,  in  September,  carried 
the  story  of  the  balloons  which  broke 
loose  from  their  mooring,  carrying 
with  them  Paramount  News  camera- 
man Al  Mingalone.  It  related  how 
he  was  brought  to  ground  by  the 
puncturing  of  the  balloons  with  rifle 
fire  from  the  ground.  But  there  is  an 
interesting  sequel  to  the  story. 

With  him,  Mingalone  carried  a 
Bell  &  Howell  Eyemo.  After  the  guy 
rope  broke,  releasing  him  to  the 
mercy  of  the  skies,  he  was  forced  to 
drop  this  Eyemo  from  a  height  of 
800  feet. 


Pictures,  Inc.  photo  of 
Al  Mingalone,  Para- 
mount newsreel  cam- 
eraman, just  before  guy 
rope  broke,  releasing 
him  for  a  13-mile  run- 
away flight.  Mingalone 
was  brought  to  ground 
safely  when  the  bal- 
loons were  punctured 
by  rifle  shots  fired 
from  the  ground  by 
Rev.  James  J.  Mullen 


The  camera  was  later  recovered,  \ 
freed  of  the  mud  into  which  it  had 
fallen,  and  found  upon  thorough  in- 
spection to  be  wholly  intact  without 
the  slightest  injury. 

Lest  we  be  misunderstood,  we  be- 
lieve that  in  this  remarkable  instance 
Mr.  Mingalone's  thanks  to  the 
Eyemo's  sturdy  construction  should 
be  shared  with  a  kind  Providence. 

The  Eyemo  owes  much  of  its  favor 
among  professional  newsreel  cam- 
eramen to  its  sturdy  construction, 
its  ability  to  stand  up  in  grueling 
newsreel  service.  Small  and  com- 
pact, the  Eyemo  permits  getting 
scenes  impossible  with  larger  cam- 
eras, yet  can  be  equipped  with  many 
of  the  refinements  of  studio  cameras. 
Mail  the  coupon  for  detailed  infor- 
mation. 

BELL  &  HOWELL  COMPANY 

1848  Larchmont  Avenue,  Chicago  JL 

New  York  •  Hollywood  •  London  .Jjljjm 
Established  1907  I^H 

MAIL  THIS   COUPON    FOR  INFORMATION 

^  AC  1-38  ! 

I      BELL  &  HOWELL  COMPANY  | 

ThenewEyemo,  more  versatile  than  ever  before,  is  replete  1848  Larchmont  Ave.,  Chicago,  Illinois  I 

with  such  features  as  three-lens  turret  focusing  and  dia-  p,,^^^              ^                         ^  ^ 

phragm  controls  visible  through  spyglass  viewfinder,  in-  |      □  Taylor-Hobson  Cooke  lens  catalog.  ' 

terchangeability  of  auxiliary  elecuic  motors  and  external  |  ■ 
61m  magazines,  standard  S.M.P.E.  sound  aperture,  and 

accurate  vibrationless  speed  governor.  Send  for  complete      1      Name   I 

description  |  | 

'       Adt/r(.ss   I 

I 

CVv  Stale   I 

 I 


BELL    &  HOWELL 


American  Cinematographer     •     January,  1938 


AGFA 


ANNOUNCES- 


1 


Agfa's  new  Supreme  Neg 
ative  is  ttvice  as  fast  as  Super 


ance  and  gradation  of  this 
supersensitive  panchromatic 

pan!  And-  at  the  same  time  film  are  better  th.m  Suffer- 
— the  grain  size,  color  bal-  pan! 


IMPOSSIBLE  I 


ft 


SAY 
THE  CRITICS 


UP  to  now  it  has  been  considered 
impossible  to  effect  any  great 
increase  in  speed  and  at  the  same 
time  retain  fineness  of  grain,  grada- 
tion, color  balance  and  keeping 
quality. 

NOT  ONLY  RETAINED... 
BUT  IMPROVED! 

BUT — in  Agfa's  new  Supreme  Neg- 
ative these  important  features  have 
not  only  been  retained  .  .  .  they  have 
been  substantially  IMPROVED  .  .  . 
especially  the  gradation  and  fineness 
oj  grain! 


The  amazing  speed  of  the  new 
Supreme  Negative  permits  stopping 
down  to  obtain  more  focal  depth, 
thus  extending  the  scope  of  back- 
ground transparency  photography, 
andof  photographing  medium  close- 
ups  where  it  becomes  desirable  to 
keep  the  foreground  action  and 
background  action  respectively  in 
focus. 

This  new  film  is  replacing  Superpan. 
Samples  of  Supreme  are  now  avail- 
able. Get  yours  at  once  . . .  and  see  for 
yourself  what  an  ideal  negative  it  is! 


January,  1938      •      American  Cinematographer 


TWO  GREAT  NEW  SSmm.  FILMS! 


2 


Agfa's  new  Ultra-Speed  Pan- 
chromatic Negative  is  three 
times  as  Justus  Superpati/ This 
degree  of  speed  increase. 


heretofore  inconceivable, 
makes  Ultra-Speed  the  fust- 
est  film  ever  offered. 


IT'S  TRUE! 


SAY 

THE  CAMERAMEN 


ULTRA-SPEED,  originally  de- 
signed to  answ^er  the  require- 
ments of  newsreel  photography, 
won  instant  approval  in  New  York, 
and  is  eagerly  sought  for  all  types  of 
news-recording. 

OFFERS  MANY  POSSIBILITIES 

Its  phenomenal  speed — 3  times  that 
of  any  negative  previously  available 
— finds  many  fields  of  applications 
in  the  motion  picture  industry.  It  is 
being  widely  used  in  all  sorts  of 


emergencies  when  the  greatest  pos- 
sible speed  is  desired. 

BOTH  AVAILABLE  NOW! 

Both  of  these  great  new  Agfa  Films 
— Supreme  and  Ultra-Speed  .  .  .  are 
available  now  for  immediate  delivery 
in  quantity.  Distributor  is  C.  King 
Charney,  Inc.,  6424  Santa  Monica 
Blvd.,  Hollywood  and  245  W.  5  5th 
Street,  New  York. 

Supreme  and  Ultra-Speed  are  made 
by  Agfa  Ansco  Corporation  in 
Binghamton,  New  York. 


^  AGFA  ULTRA-SPEED  ^ 
PANCHROMATIC  NEGATIVE 


>'aturing  'I 
I 'or  they  kno 
By  the  same  d  ,1. 
I^isney,  Samiif ' 
Ixjndon  Film 
mount,  RKT) 
Universal,  \V 


■XXsTUTF,  tvhihitors  like 
Cardas  of  I^w's  State  Theatre  in  L 
Angeles  display  keen  showmanship  by 


Mfquee  draw. 
>)X-office 


\Ti-Mav*-r,  Pai 


rner  Brotheri 


Max  Fleisc  her,  Lt  in  vSchlesing' 
(Columbia  release)  and  others  will  bring  to 
screen  more  ■  irtoons  and  short  subject 

I Technicolor  duriii^  '>38  than  ever  befo-  ' 
DR 


ECHNICOLOR 

otion  Picture  Corporation 


January,  1938     •     American  Cinematographer 


AMERICAN 
CINEMATOGRAPHER 


A  Technical  and  Educational  publication 
on  motion  picture  phototrraphy. 

Published  monthly  hv  the 

AMERICAN  SOCIETY 

OK  CINEMATOGRAPIfERS.  INC. 

1782  Ncrth  Oranse  Drive 
Hollywood  (Los  Angeles),  California 

Telephone  GRanite  2135 

VICTOR  MILNER,  President. 
FRED  W.  JACKMAN,  Treasurer. 


Vol.  19 


January,  1938 


No.  1 


Contents 


Front  Cover — Edgar  Borgen  and  Charlie 
McCarthy  Sign  with  Universal  Pictures 

Once  Again  Frank  Lloyd  Rings  Ball....  6 
By  Gaorge  Blaisdell 

Charlie  McCarthy  Scheduled  for  Assist- 
ant  Cameraman   Job   7 

Each  Step  Counts  in  Reproduction  of 
Screen  Music,  Says  Aalberg   9 

Agfa  Introduces  Two  New  Super-Fast 

Motion  Picture  Negative  Films  10 

By  William  Stull,  A.S.C. 

Research  Council  Issues   Sound  Engi- 
neering Book  12 

Make-Up  Specialist  Can  Do  Much  to 
Assist  the   Cinematographer  13 

Engineer    Discusses    Requirements  of 
True  Stereoscopy  in  Motion  Pictures.  14 
By  G.  W.  Wheelright 

Art   Reeves    Shows    New  Ultra-Violet 
Recorder  IG 


The  Staff 


EDITOR 

Georne  Blaisdoll 

WASIIINHTON 
STAFF  CORRESPONDENT 
Reed  N.  Haythorne,  A.  S.  C. 

TECHNICAL  EUITOR 
Emery  Huse,  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 
Victor  Milner,  A.  S.  C. 
James  Van  Trees.  A.  S.  C. 
Fre<l  W.  Jackm;in,  A.  S.  0. 
Farciot  Edouart.  A.  S.  C. 
Fred  Once.  A.  S.  C. 
Dr.  J.  S.  Watson.  A.  S.  C. 
Dr.  L.  A.  Jones.  A.  S.  C. 
Dr.  C.  E.  K.  Mees.  A.  S.  C. 
Dr.  W.  B.  Rayton.  A.  S.  C. 
Dr.  Herbert  Meyer.  A.  S.  C. 
Dr.  V.  B.  Sease.  A.  S.  C. 

CIRCULATION  MANAGER 
L.  F.  Graham 

NEW  YORK  REPRESENTATIVE 

S.  R.  Cowan,  19  East  47th  St.,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 

Georpres  Benoit,  100  AUee  Franklin, 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 


ESTABLISHED  1920.  Advertising  Rates  on  ap- 
plication. Subscription :  United  States,  $2.50  a 
year  ;  Canada  and  the  Pan-American  Union.  $2.50 
a  year;  Foreign.  $3.50  a  year.  Single  copies, 
25  cents;  back  numbers,  30  cents;  foreign,  sing'e 
copies,  35  cents  ;  back  numbers,  40  cents.  COPY- 
RIGHT 1938  by  American  Society  of  Cinema- 
tographers.  Inc. 

Entered  as  second  class  matter  November  18,  1937, 
at  the  post  office  at  Los  Angeles,  California,  under 
the  Act  of  March  3,  1879. 


AUSTRALIAN  REPRESENTATIVE 

McGill's.  179  Elizabeth  Street.  Melbourne. 
Australian  and  New  Zealand  agents. 

Neither  the  American  Onematocrapher  nor 
the  Amencan  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. This  magazine  will  not  be  respon- 
sible for  unsolicited  manuscripts. 


6      American  Cinematographer 


January,  1938 


Director  Frank 
Lloyd,  center  in 
.straw  hat  following 
the  chess  players, 
is  directing  a. 
sequence  in 
Paramount's 
"Wells  Fargo." 
Standing,  at  his 
left  shoulder, 
wearing  white  visor, 
is  Ted  Sparkuhl, 
A.S.C.,  director 
of  photography. 
Guy  Roe  is  the 
operative  camera- 
man. Seated  at 
the  left  of  the 
group  is  Ralph 
Morgan,  a  pot  of 
mint  julep  or 
somethin'  at  his 
right  hand. 
Hal  McAlpin 
photographed 
the  still. 


/ 


0^  f 


ONCE  AGAIN  LLOYD  RINGS  BELL 


ONCE  again  Frank  Lloyd  rings 
the  bell,  this  time  with  his 
making  of  Paramount's 
"Wells  Fargo."  The  achievement 
of  building  an  excellent  picture  in 
the  present  instance  is  of  all  the 
greater  significance  because  he  is 
more  than  the  subject's  director. 
Also  is  he  the  producer. 

The  distinction  is  important.  In 
the  earlier  days,  when  the  director 
bulked  bigger  relatively  than  he 
does  today — bigger  by  reason  of 
his  greater  authority  in  putting  a 
picture  on  the  screen,  in  his  free- 
dom from  lay  interference — more 
often  could  it  be  said  the  general 
result  was  the  work  of  one  man 
traveling  a  straight  and  unim- 
peded path. 

Producer-directors  are  compara- 
tively few  today.  What  Frank 
Lloyd  has  accomplished  in  his  lat- 
est contribution  to  the  record  of 
the  screen  will  go  far  to  sustain 
those  contenders  who  insist  that 
one  good  man  with  native  capacity 
and  with  training  in  the  field  in 
which  he  is  working  can  go  farther 
than  two  men  equally  equipped 


By  GEORGE  BLAISDELL 

but  pulling  against  each  other. 

Cameramen  are  interested  in  the 
doings  of  Frank  Lloyd — interested 
in  him  for  one  sufficient  reason 
alone  regardless  of  many  others 
because  of  his  well-known  belief 
in  the  large  measure  of  assistance 
brought  to  a  director  by  the  man 
behind  the  camera  that  is  record- 
ing his  work. 

It  will  be  a  matter  for  con- 
gratulation to  the  cameramen  that 
Lloyd  has  made  more  than  a  great, 
a  pretentious,  production.  He  has 
created  a  subject  that  may  be 
stripped  of  its  splendor,  its  pag- 
eantry, its  romantic  and  thrilling 
natural  settings,  retaining  only  its 


The  Front  Cover 

EDGAR  BERGEN,  A.S.C.,  and 
his  mouthpiece,  Charlie  Mc- 
Carthy, sign  their  term  contract — 
or  why  not  contracts? — with  the 
New  Universal.  In  a  picture  pro- 
duced and  directed  by  John  Stahl 
the  humorist  will  start  work  early 
in  the  year  with  a  cast  headed  by 
Irene  Dunn. 


fundamental  human  story.  Yet 
still  will  it  be  a  great  motion 
picture. 

The  biting  appeal  to  the  heart 
submerges  the  glorious  appeal  to 
the  eye.  And  that  is  the  great 
test  of  a  great  film. 

▼ 

THE  appeal  of  The  American 
Cinematographer  to  the  ama- 
teurs of  the  world,  the  inter- 
national appeal,  seems  to  be  estab- 
lished by  the  hailing  ports  of  those 
adventurers  who  send  examples  of 
their  film  craftsmanship  across  the 
seas  and  over  international  borders 
to  compete  with  their  confreres  in 
the  United  States. 

And  Americans  were  allotted 
prizes  and  honors  for  the  faithful- 
ness with  which  they  had  brought 
home  from  foreign  lands  \aews  of 
mountain  and  lake,  of  city  and 
country,  of  historic  spots,  of  inti- 
mate shots  of  the  people  and  their 
customs. 

Truly  the  camera  of  the  amateur 
even  perhaps  as  much  as  that  of 
the  professional  is  contributing  to 
making  this  old  world  smaller. 


January,  1938      •      American  Cinematographer  7 


Charlie  McCarthy  Scheduled 

for  Assistant  Cameraman  Job 

Edgar  Bergen,  A.S.C.  Associate,  Planning  in  the 
Course  of  Time  to  Resume  Making  of  Travel 
Films  in  Connection  with  Conducting  Con- 
cert Troupe — Says  Vaudeville's  Dead 


HISTORY  fails  to  record  the  first 
cinematographer  who  termed  his 
assistant  a  dummy  and  a  block- 
head. That  must  remain  one  of  the 
many  mysteries  buried  with  the  early 
days  of  the  cinema.  Since  then  many  a 
cinematographer  has  expressed  or 
thought  of  those  sentiments  when  his 
assistants  committed  the  inevitable  as- 
sistant's boners. 

But  it  is  only  now  that  a  member  of 
the  American  Society  of  Cinematogra- 
phers  can  be  counted  able  to  use  the 
terms  with  perfect  accuracy.  That  mem- 
ber is  Edgar  Bergen,  who  has  just  been 
extended  the  honor  of  an  associate  mem- 
bership in  the  A.S.C;  the  assistant,  of 
course,  none  other  than  the  ubiquitous 
Charlie  McCarthy. 

Let  it  be  clearly  understood  Bergen's 
interest  in  the  cinema  is  by  no  means 
confined  to  his  present  occupation  of 
chaperoning  the  beloved  Charlie  in  front 
of  major  studio  cameras.  Quite  the  re- 
verse: for  Bergen  practised  photography 
long  before  the  monocled  McCarthy  was 
riven  from  his  ancestral  timber. 

Neither  is  Bergen's  interest  in  cam- 
erawork that  of  an  amateur.  He  seized 
upon  his  first  camera  with  professional 
zeal  (and  returns)  and  has  continued 
to  look  upon  cinematography  as  a  pro- 
fessional activity  ever  since. 

The  statement  that  he  seized  upon  his 
first  camera  is  actually  a  bit  less  than 
accurate,  for  in  truth  Bergen,  as  a 
schoolboy,  began  his  camera  career  by 
appropriating  a  box-type  plate  camera 
which  had  been  given  to  his  father. 
War  Work  as  Lad 
That  old  box  outfit  and  its  pictures 
added  measurably  to  the  Bergen  income 
while  Edgar  made  his  way  through  high 
school.  Pictures  of  school  and  village 
activities,  class  groups,  even  portraits, 
flowed  from  that  first  camera  and  its 
later,  more  flexible  successors. 

During  the  World  War  Eddie  Bergen, 
too  young  to  fight,  found  a  useful  photo- 
graphic assignment  nevertheless,  for  as 
the  only  remaining  photographer  in  his 
home  town  of  Decatur  he  received  many 
official  commissions  to  photograph  in- 
terned aliens  and  their  properties  for 
governmental  records. 

About  this  time  the  cinema  virus 
worked  its  way  into  his  veins.  This 
came  about  by  the  acquisition  of  a  toy 
35mm.  projector,  which  he  promptly  re- 


modeled into  a  camera.  Even  he  admits 
that  the  results  left  something  to  be 
desired,  but  at  the  time  he  was  thrilled 
as  only  one  who  screens  his  first  self- 
made  movies  can  be. 

"If  you  looked  hard,"  he  says,  "you 
could  see  definite  traces  of  an  image. 
On  the  screen  the  result  was  something 
like  the  cruder  amateur  varieties  of 
today's  television.  You  could  see  a 
rather  ill-defined  shape  moving  about 
on  the  screen,  and  with  patience  and  a 
little  imagination  you  would  in  time 
identify  it  as  a  man.  Of  course  it 
helped  a  lot  if  you  knew  beforehand  I 
had  made  a  picture  of  a  man! 


"I  did  my  own  laboratory  work,  on 
equipment  I  had  made  myself.  I  couldn't 
afford  the  price  of  a.  set  of  Stineman 
developing  racks,  so  I  made  my  own.  I 
got  a  strip  of  sheet  brass  and  formed 
it  into  a  coil,  then  soldered  it  on  to 
brass  crosspieces.  In  shallow  tanks,  also 
of  my  own  manufacture,  the  home-made 
racks  worked  veiy  well  indeed." 

First — and  Last — Flop 

In  due  time  Bergen  wandered  to  Chi- 
cago, where  he  entered  show  business 
through  the  front  of  the  house — literally 
getting  himself  a  job  as  an  usher  in  a 
theatre.   There  again  the  Bergen  cam- 


Cedl  B.  DeMille,  directing  "The  Buccaneer,"  in  conference  with  Victor  Milner, 
A.S.C.,  director  of  photography  on  that  subject. 


8       American  CiNEMATociUAPHER     •     January,  1938 


era — with  in  this  case  a  good  bit  of 
Scandinavian  luck — paid  a  profit. 

Learning  of  Eddie's  interest  in  pho- 
tography, the  manager  atked  him  to 
make  a  picture  of  the  theatre.  Bergen 
gladly  complied;  but  when  the  time 
came  to  exhibit  a  proof  of  the  picture 
Usher  Bergen  probably  wished  he  could 
shew  himself  to  the  least  conspicuous 
seat  in  the  balcony. 

The  picture  itself  had  turned  out  ex- 
cellently, he  relates,  but  the  negative 
had  been  carefully  left  to  dry  in  the 
sun — and  it  was  a  hot  day.  As  might  be 
expected,  the  emulsion  had  softened  and 
run,  until  the  imaged  theatre  bulged 
and  sagged  in  all  the  wrong  places! 

None  the  less,  with  true  Viking  forti- 
tude, Bergen  showed  his  distorted  pic- 
ture. And  at  that  juncture,  whoever 
was  the  Vikings'  god  of  luck  proved  to 
be  smartly  on  the  job.  "The  manager 
locked  at  that  picture,"  said  Bergen 
recently,  "and  to  my  dismay  suddenly 
broke  into  roars  of  laughter.   When  he 


stopped  laughing,  he  amazed  me  by 
ordering  a  lot  of  prints. 

"He  was  a  good  showman  all  right,  for 
he  sent  those  prints  out  to  all  his  friends 
with  the  notation  that  his  house  was 
doing  such  business  with  the  comedy 
then  playing  that  it  was  literally  rocking 
with  laughter.  In  the  end,  I  made  more 
money  from  that  fortunate  accident  than 
I  would  had  the  picture  been  good." 
Camera  a  Meal  Ticket 

During  the  next  few  years  Edgar  Ber- 
gen's prime  interest  was  the  difficult 
matter  of  carving  himself  out  a  career 
behind  the  footlights  as  a  ventriloquist. 
But  it  can  hardly  be  said  that  his  photo- 
graphic career  suffered.  During  the  sum- 
mer months  those  deadly  periods  when 
vaudevillians  in  droves  were  chronically 
"at  liberty,"  Bergen  remembered  that 
he  was  also  a  cameraman. 

Armed  by  this  time  with  a  staunch, 
war-surplus  Universal  camera,  he  barn- 
storined  up  and  down  the  countiy  mak- 
ing advertising  shorts  and  trailers  for 


small  town  merchants.  You've  probably 
seen  some  yourself — those  short  ad  films 
that  small  (and  not-so-small)  theatres 
used  to  run  between  shows,  advertising 
the  corner  grocery,  the  side  street  gar- 
age and  the  spigot  plumbing  .shoppe. 

One  could  hardly  accuse  these  of  being 
pinnacles  of  cinematic  art,  but  they 
kept  Bergen  bu.sy  and  eating  during  sea- 
sons when  many  of  his  footlight  fellows 
were  ducking  landlords  and  haunting 
booking  agents. 

Not  so  long  ago,  only  a  little  before 
Bergen  and  the  irrepressible  Charlie 
skyrocketed  to  fame,  they  and  the  De- 
Brie  which  by  that  time  was,  with  an 
Eyemo,  Bergen's  first-string  photo- 
graphic team,  betook  themselves  abroad. 
On  cruise  steamers  to  South  America 
and  to  Scandinavia,  Bergen  and  Mc- 
Carthy traveled  to  keep  the  passengers 
amused. 

But  on  long  cruises  such  as  these, 
passengers  are  offered  so  much  enter- 
tainment that  even  a  Charlie  McCarthy 
must  have  some  leisure  time.  Bergen 
.spent  his  with  his  cameras,  filming  a 
series  of  travelogues  of  the  places  vis- 
ited. 

Plans  for  Future 

And  these  films  indicate  a  key  to  Ber- 
gen's answer  to  the  so  often  asked 
question :  "What  will  he  do  when  the 
novelty  of  Charlie  McCarthy  wears  off?" 

Bergen's  answer,  revealed  here  for 
the  first  time,  is  this.  "In  spite  of  in- 
tensely gratifying  results  of  some  of 
the  recent  personal  appearances  Charlie 
and  I  have  made  on  the  stage  I  feel 
that  vaudeville  is  dead."  (This  in  spite 
of  a  week  at  Los  Angeles'  Paramount 
theatre  during  which  Edgar  and  his 
wooden  friend  broke  all  house  records 
and  added  tremendously  to  their  joint 
bankroll! ) 

"Vandeville,"  continued  Bergen,  "is 
through.  Today's  audiences  are  no 
longer  in  tune  with  it — or  it  is  not  in 
tune  with  them.  The  audiences  still 
want  entertainment,  but  they  want  it 
cast  in  a  newer  pattern.  Therefore 
vaudeville,  as  such,  is  not  included  in 
my  present  plans. 

"Of  course  I  intend  to  keep  on  with 
my  present  screen  and  radio  work.  But 
in  between  these  activities  I  am  plan- 
ning to  try  a  new  venture.  This  is  a 
series  of  what  might  be  called  concert 
appearances.  I  hope  eventually  to  form 
my  own  company  and  tour  the  country. 

"Of  course  Charlie,  not  to  mention 
other  members  of  the  family  like  Elmer 
the  yokel,  Sadie  the  little  Bcwery  tough; 
Ophelia,  and  others  will  be  high  spots 
on  these  programs,  and  they  will  be  sur- 
rounded by  the  best  possible  acts  of 
other  types. 

To  Make  Travel  Films 

"But  in  addition  to  these  I  plan  to 
include  some  of  these  travel  films  I  have 
produced  and  photographed  myself,  and 
to  give  them  increasingly  prominent 
parts  on  the  program. 

"Of  course  there  have  been  lots  of 
travelogues  made  and  shown,  but  fun- 
damentally audiences  never  grow  tired 
(Continued  ov  Page  20) 


New  Hcreen  team  is  formed  by  the  eo-starriny  of  Nelson  Eddy  (ind  Eleanor  Powell 
in  M-G-M's  extravuf/unza  "Rosalie."  Strangely  enough,  while  they  are  a  romantic 
team,  Eddy  sings  with  Ilona  Massey,  while  Miss  Powell  dances  with  Ray  Bolger. 
Oliver  Marsh  directs  the  photography 


January,  1938      •      American  Cinematographer  9 


Each  Step  Counts  in  Reproduction 

of  Screen  Musicj  Says  Aalberg 


LOVERS  of  music  are  getting  a 
treat  in  "Hitting  a  New  High,"  the 
RKO  Radio  subject  in  which  that 
company's  sound  department  does  itself 
and  the  industry  as  a  whole  real  credit 
in  the  manner  in  which  it  records  the 
vocal  efforts  of  Lily  Pons. 

Perhaps  one  very  definite  answer  to 
an  inquiry  as  to  how  that  result  was 
obtained  may  be  found  in  the  reply  of 
John  O.  Aalberg,  the  department  chief, 
to  our  query  as  to  what  the  sound  divi- 
sion actually  thou.^ht  of  the  recording 
and  reproduction  of  Pons'  singing  in  the 
sub'ect  named: 

"Oh,  we  never  like  anything." 
It  is  the  answer  of  a  man  speaking 
for  himself  and  his  department  who  con- 
cedes a  continual  striving  for  something 
that  is  better — who  exemplifies  in  sim- 
plest and  most  direct  language  the  ut- 
terance of  the  great  mind  which  made 
plain  to  a  waiting  world  the  meaning 
of  a  somewhat  mystifying  word: 

"Genius  is  the  capacity  for  taking 
infinite  pains." 

Great  Advance  Made 

Mr.  Aalberg  stressed  the  importance 
of  the  strength  of  every  link  in  the 
chain  that  reaches  from  the  microphone 
to  the  recorder  to  the  laboratory  to  the 
reproducing  installation  in  the  theater. 
He  admitted  that  in  recording  and  re- 
production great  advances  had  been 
made  all  along  the  line  in  the  past  two 
or  three  years  and  even  in  the  year 
that  is  just  at  this  writing  drawing  to 
a  close. 

One  of  the  major  elements  in  the 
successful  reproduction  of  the  Pons 
voice  is  the  employment  of  the  newest 
device,  the  ultra-violet  recorder.  By 
means  of  this  there  is  marked  improve- 
ment in  the  definition  of  the  sound 
waves  on  the  film — identically  a  parallel 
result  following  better  definition  of 
photographic  images  on  the  photographic 
film. 

Mr.  Aalberg  declared  another  most 
important  element  contributing  to  the 
result  as  heard  bv  this  commentator 
at  the  preview  of  "Hitting  a  New  High" 
was  the  reproduction  delivered  at  the 
Hollywood  Pantages  Theater.  The  pleas- 
ure that  attended  the  performance  at 
Pantages  is  one  that  will  be  denied  many 
other  listeners  around  the  world.  That 
will  be  because  of  the  absence  in  so 
many  theaters  of  the  devices  of  im- 
provement that  have  been  installed  in 
the  local  house. 

Rerecording  Vital 

Yet  still  another  vital  factor  in  the 
chain  of  high  vocal  achievement  is  the 
contribution  of  those  engaged  in  re- 
lecoiding.  It  is  in  the  replacing  of  a 
bit  of  footage  in  which  there  is  a  slip 
from  the  highest  quality  by  a  bit  of 
footage  in  which  the  quality  rates  100 


percent,  by  a  matching  of  the  quality 
that  rides  in  the  remainder  of  the  re- 
cording, that  a  department  approaches 
nearer  p-erfection. 

Mr.  Aalberg  smiled  slightly  when  by 
indirection  the  thought  was  planted  in 
the  mind  of  the  sound  department  chief 
chat  the  interviewer  was  curious  as  to 
the  amount  of  cooperation  extended  by 
the  shiger  to  the  crew  when  a  picture 
was  in  the  making. 

"There's  no  complaint  on  our  part  at 
all,"  he  responded.  "To  be  sure,  Miss 
Pons  is  keen  for  having  around  her  in 
responsible  positions  those  she  knows 
and  on  whose  efficiency  and  capacity 
she  may  rely  and  in  which  she  may  have 
confi'ience." 

Roy  Hunt  Photographs 

Roy  Hunt,  A.S.C.,  directs  the  photog- 
raphy on  the  Pons  subject.  In  the  sound 
department  Hugh  McDonald  guides  the 
voice  recording  and  Earl  Mounce  the 
music  recording. 

"I  gather  from  your  remark  a  few 
minutes  ago  you  are  a  firm  believer  in 
the  importance  of  the  rerecording  sec- 
tion of  a  studio — that  while  you  do  not 
aim  to  gild  the  lily  you  are  determined 
to  render  unto  Lily  the  things  that  are 
Lily's?"  the  visitor  asked. 

The  department  chief  smiled — broadly. 
"Yes,"  he  said  simply.  "And,"  he  added, 
"I  am  a  strong  admirer  of  Miss  Pons' 


JoJni  O.  Aalberg,  Sound  Department 
Chief  RKO  Radio  and  just  elected  chair- 
man for  1938  of  Pacific  Coast  Section  of 
Society  Motion  Picture  Engineers. 

singing.  As  a  matter  of  fact  I  rarely 
miss  her  broadcasting."  G.  B. 

Pacific  Coast  Ssction  Elects 
At  the  recent  meeting  of  the  Pacific 
Coast  section  of  the  engineers  besides  the 
election  of  John  O. Aalberg  as  chairman, 
C.  W.  Handley  was  chosen  for  the  board 
of  managers  and  Gordon  A.  Chambers 
as  secretary. 


Lily  Pons,  in  front  of  a  mixed  chorus,  is  shown  iyi  a  pretentious  New  York  night 
club  sequence  from  her  RKO  Radio  filmusical  "Hitting  a  New  High." — Photo  by 

Gaston  Longet 


10     American  Cinematockaphkk      •     January,  l'X\H 


Agfa  Introduces  Two  Super-Fast 
Motion  Picture  Negative  Films 


By  WILLIAM  STULL,  A.  S.  C. 


THE  outstanding  photographic  news 
of  the  closing  months  of  1937  is 
undoubtedly  the  announcement  by 
the  Agfa  Ansco  Corporation  of  two  new 
motion  picture  negative  films,  enor- 
mously faster  than  had  hitherto  been 
deemed  possible.  These  two  new  films 
are  respectively  Agfa  Supreme,  with 
twice  the  speed  of  conventional  superpan 
emulsions,  and  Agfa  Ultra  Speed  Pan, 
with  the  amazing  sensitivity  of  four 
times  the  speed  of  conventional  emul- 
sions. 

Expressed  in  the  familiar  Weston 
speed  ratings,  these  films  have  Weston 
daylight  speeds  of  48  for  the  Supreme 
and  96  for  the  Ultra  Speed  Pan.  These 
ratings,  it  must  be  mentioned,  are  ap- 
proximations, as  the  Weston  engineers 
have  not  as  yet  published  their  official 
ratings  for  the  new  emulsions,  but  the 
ratings  quoted  have  been  used  by  the 
writer  with  success. 

The  remarkable  thing  about  these  two 
new  emulsions  is  that  they  are  in  no 
sense  products  of  hypersensitization, 
but  strictly  normal  production  coatings 
in  every  way. 

Equally  remarkable  is  the  fact  that 
the  tremendous  increase  in  speed  has 
been  attained  with  no  sacrifice  of  grain 
size,  contrast,  keeping  quality  or  other 
normal  characteristics  in  the  case  of 
the  Supreme  emulsion,  and  with  only  a 
slight  alteration  in  grain  size  and  con- 
trast in  the  case  of  the  yet  faster  Ultra 
Speed  Pan.  A  radically  new  discovery 
in  emulsion  making  technique  is  respon- 
sible for  this. 

New  Emulsion  Technique 

It  is  well  known  that  the  making  of 
photographic  emulsions  is  limited  by 
the  close  inter-relation  of  such  charac- 
teristics as  speed,  color  sensitivity,  grain- 


Fiyure  1 — 153,  Sujrreme;  154,  Superpan; 
556,  Ultra  Speed  Pan 


size  and  graininess,  contrast  and  stabil- 
ity or  keeping  quality. 

Any  advance  in  any  of  these  must  in 
general  be  limited  by  the  sacrifices  in 
other  qualities  permissible  under  the 
conditions  of  the  emulsion's  practical 
application.  Thus  many  of  the  earliest 
panchromatic  emulsions  achieved  their 
wider  color  sensitivity  at  the  cost  of 
sacrifices  in  contrast  and  other  charac- 
teristics. 

Similarly,  considerable  increases  in 
overall  speed  have  long  been  possible 
under  normal  emulsion  making  methods 
or  by  hypersensitization,  but  only  at  the 
expense  of  increased  grain,  distoi-ted 
contrast  and  in  many  instances  greatly 
diminished  stability. 

Due  to  the  new  methods  developed  by 
the  Ag-fa-Ansco  engineers,  however,  the 
new  emulsions  afford  their  increased 
speed  without,  as  has  been  said,  the 
necessity  of  such  sacrifices. 

Characteristics  of  Supreme 

The  new  Agfa  Supreme  emulsion  is 
intended  as  a  general  purpose  emulsion 
for  all  production  uses.  To  that  end  it 
supersedes  the  firm's  previous  Superpan 
emulsion,  which  has  been  withdrawn 
from  manufacture. 

As  will  be  seen  from  the  spectro- 
grams reproduced  in  Figure  1,  the  color 
sensitivity  of  Supreme  is  virtually  iden- 
tical with  that  of  the  slower  Superpan, 
which  in  turn  was  closely  comparable 
with  the  color  response  characteristics 
of  all  commonly  used  super-panchro- 
matic types. 

The  color  balance  of  the  new  emulsion 
is  therefore  fundamentally  the  same  as 
that  which  cinematographers  now  con- 
sider normal. 

In  gradation  the  new  emulsion  is 
slightly  more  brilliant  than  its  conven- 
tional predecessor,  Agfa  Superpan,  as 
is  shown  in  the  curves  reproduced  in 
Figure  2.  The  contrast  characteristics 
of  the  new  Supreme  emulsion  are  there- 
fore well  in  line  with  the  best  modern 
standards. 

The  following  time  gamma  informa- 
tion was  obtained  from  sensitometric 
strips  of  Agfa  Supreme  and  Superpan 
films,  exposed  in  a  standard  time-scale 
sensitometer  and  tray  developer  in  the 
Agfa  No.  17  Borax  developer: 

Developing  time 

4  7         10  15 

Film:  mins.  mins.  mins.  mins. 
Agfa  Supreme 

(gamma)  ..0.39  0.59  0.77  1.05 
Agfa  Superpan 

(gamma)    ..0.30  0.56      0.74  0.98 


Grain  Fine 
The  grain  size  and  grainless  charac- 
teristics of  the  new  film  are  officially 
stated  to  be  finer  than  those  of  conven- 
tional superpan  types.  Several  outstand- 
ing cinematographers,  including  A.  Far- 
ciot  Edouart,  A.S.C.,  Vernon  L.  Walker, 
A.S.C.,  and  others  who  have  used  the 
new  film  on  production,  have  stated  that 
its  grain  was  notably  finer  than  that  of 
conventional  super-panchromatic  emul- 
sions. 

The  developing,  fixing  and  drying 
characteristics  of  the  new  Supreme 
emulsion  are  normal.  The  new  film  re- 
quires approximately  the  same  develop- 
ment as  Superpan,  its  normal  developing 
time  lying  less  than  midway  between 
those  normally  employed  for  the  most 
commonly  employed  super-panchromatic 
types. 

In  the  laboratory  of  one  studio  where 
the  new  film  has  been  used  on  produc- 
tion, and  in  which  Agfa  Superpan  and 
another  conventional  emulsion  receive  a 
normal  development  of  8  minutes  and 
the  third  conventional  type  10  minutes, 
the  new  Supreme  was  found  to  give  best 
normal  results  with  approximately  SVz 
minute  development. 

The  keeping  quality  of  the  new  Su- 
preme is  fully  normal.  Sensitometric 
tests  made  near  the  middle  of  December 
in  one  studio's  laboratoiy  on  three  sepa- 
rate orders  of  the  film  received  over  a 
period  of  two  months  revealed  charac- 
teristic curves  so  closely  identical  they 


FIGURE  3 

Exposure 

Multiplying 

Factors  for 

Wra+ten 

Filters  in  Normal 

Daylight 

Ultra 

Filter  Used 

Speed  Superpa 

n  Supreme 

Aero  No.  1 

1.5 

1.5 

1.5 

Aero  No.  2 

2.0 

2.0 

2.0 

3N5 

4.0 

4.0 

4.0 

5N5 

6.0 

5.0 

6.0 

K-l 

1.8 

1.6 

1.9 

K-l'/2 

2.0 

1.8 

2.0 

K-2 

2.0 

1.9 

2.0 

Minus  blue 

2.5 

2.5 

2.5 

S 

2.5 

3.0 

3.0 

23-A 

3.5 

4.0 

4.0 

25-A 

5.0 

5.5 

6.0 

B 

9.0 

7.0 

9.0 

C 

10.0 

7.0 

8.0 

C-5 

6.0 

6.0 

5.5 

F 

7.0 

7.0 

8.0 

N.D.  .25 

1.8 

1.8 

1.8 

N.D.  .50 

3.1 

3.1 

3.1 

N.D.  75 

5.6 

5.6 

5.6 

N.D.  1.00 

10.0 

10.0 

10.0 

72 

20.00 

20.0 

30.0 

January,  1938      •     American  Cinematographer  11 


BALANCED 


IN  EASTMAN  Super  X  Panchromatic  Neg- 
ative the  vital  film  factors  of  fine  grain, 
high  speed,  and  superb  photographic  qual- 
ity are  combined  to  give  the  finest  results 
to  be  seen  anywhere  today.  It  is  the  admi- 
rable balance  of  these  qualities  that  has 
made  Super  X  the  world's  most  widely 
used  negative  film.  Eastman  Kodak  Co., 
Rochester,  N.  Y.  (J.  E.  Brulatour,  Inc.,  Dis- 
tributors, Fort  Lee,  Chicago,  Hollywood.) 


EASTMA]\  SUPER  A 

PANCHROMATIC  :^EfiATIVE 


12     American  Cinematographer     •     January,  1938 


Ultra  Speed 
y^o  Supren-ie 


y  ^'■^  TRAY  DEVELOPED   lO  MIN.  AGFA  17 


bose  densitL) 


Figure  '2 


could  virtually  be  plotted  as  a  single 
curve. 

Reduced  to  practical  terms,  the  doubled 
speed  of  the  new  Supreme  negative  in 
comparison  to  conventional  superpan 
emulsions  means  that  the  cinemat:gra- 
pher  may  record  the  same  shadow  de- 
tail on  ary  given  scene  with  his  lens- 
opening  reduced  one  or  one  and  one-half 
stops  below  the  setting  ordinarily  used, 
or  that  he  may  use  50  per  cent  less  light 
on  the  set. 

The  consensus  of  opinion  among  the 
cir.ematographers  who  have  used  and 
tested  the  new  film  appears  to  be  that 
the  most  probable  course  will  be  a  com- 
bination of  the  two.  With  the  low  light 
levels  beirg  used  by  the  majority  of 
cinematographers  tcday  about  a  25  per 
cent  decrease  in  illumination  would  seem 
about  the  maximum  initially  possible, 
without  fundamental  changas  in  indi- 
vidual lighting  technique. 

Combined  with  this  it  is  generally  pre- 
dicted that  cinematographers  will  make 
use  of  the  film's  additional  speed  to  gain 
the  advantages  in  improved  focal  depth 
and  roundness  to  be  obtained  by  stop- 
ping down  lenses. 

Agfa  Ultra  Speed  Pan 

The  still  faster  Ultra  Speed  Pan  is 
primarily  a  special-purpose  emulsion.  It 
was  developed  for  the  use  of  newsreel 
cinematographers,  but  is  finding  appli- 
cation by  studio  cinematographers  in 
special  camerawork  under  extremely  ad- 
verse light  conditions. 

Referring  to  the  spectrogram  shewn 
in  Figure  1,  it  will  be  noted  that  the 
color  sensitivity  of  Ultra  Speed  Pan  is 
closely  similar  to  that  of  standard  Su- 
perpan with  the  exception  of  a  slightly 
increa.sed  red  sensitivity.  As  will  be  seen 
from  the  curves  reproduced  in  Figure  2, 
it  will  also  be  noticed  the  contrast  of 
this  emulsion  is  slightly  flatter  than 
that  of  the  conventional  emulsion. 

Development  time 
8V2  12  18 

Film  mins.      mins.  mins. 

Agfa    Ultra  Speed 

Pan  (gamma)  ..  .0.60  0.70  0.80 
Agfa  Superpan 

(gamma)   0.60       0.72  0.84 

This  is  confirmed  by  the  gamma  data 


herewith,  obtained  from  sensitometric 
strips  made  on  a  standard  sensitometer 
and  developed  in  the  Agfa  No.  17  Borax 
developer. 

The  grain  size'of  Ultra  Speed  Pan  is 
admittedly  somewhat  coarser  than  that 
of  conventional  superpan  emulsions.  For 
purpose  uses  except  where  extreme  fine- 
grain  I'esults  are  required  this  slightly 
coarser  grain  does  not  appear  obtrusive. 

The  developing,  fixing,  washing  and 
drying  characteristics  of  Ultra  Speed 
Pan  are  normal.  It  requires  slightly 
under  20  per  cent  longer  development 
than  Superpan  for  normal  effects;  in  in- 
stances where  tests  of  Superpan  have 
received  a  normal  development  of  8 
minutes,  and  the  new  Supreme,  %y2, 
Ultra  Speed  Pan  appears  to  require  a 


norm  of  between  9  and  10  minutes. 
The  keeping  quality  of  this  emulsion 
is  in  every  way  comparable  to  that  of 
any  ordinal  y  superpan  type  film.  No 
refrigeration  or  other  specialized  pre- 
cautions, necessary  with  hypersensitized 
emulsions,  are  needed. 

The  speed  of  this  fastest  emulsion  is 
between  three  and  four  times  that  of 
the  fastest  conventional  superpan  types. 
Its  primary  application  at  present  seems 
likely  to  be  used  for  special  scenes  filmed 
under  extremely  adver.se  lighting  condi- 
tions, where  ordinary  film,  or  even  the 
faster  Supreme  negative  could  not  pro- 
duce results.  Test  scenes  were  exhibited 
at  a  recent  A.S.C.  meeting,  photo- 
graphed on  this  film  under  unaided 
practical  street  lighting,  with  normal 
(f:2.3)  lens  settings  and  normal  shutter 
and  camera  speed.  These  scenes  on  the 
screen  gave  virtually  the  same  effect 
seen  visually  under  such  lighting,  while 
comparative  tests,  exposed  identically  on 
conventional  Superpan,  showed  virtually 
no  exposure.  The  speed  of  this  emulsion 
should  also  be  of  value  in  photographing 
miniatures  at  extremely  high  camera 
speeds,  an  application  where  adequate 
illumination  is  ordinarily  a  problem. 

The  introduction  of  these  two  radically 
new  emulsions  is  unquestionably  a  note- 
worthy contribution  to  the  advancement 
of  cinematography.  It  is  as  yet  too 
early  to  predict  how  these  two  new 
photographic  resources  will  hz  utilized. 

Both  are,  however,  entering  into  prac- 
tical use,  and  it  is  probably  that  the 
cinematographers  using  them  will,  as 
has  been  the  case  with  past  davelop- 
ments,  discover  uses  and  methods  for 
them  which  will  open  up  new  fialds  of 
cinematographic  art  and  technique. 


RESEARCH  COUNCIL  ISSUES 
SOUND  ENGINEERING  BOOK 


OVER  six  months  of  continuous  ef- 
fort by  a  group  of  motion  picture 
studio  sound  engineers  has  been  com- 
pleted with  the  final  editing  of  the  book 
"Motion    Picture    Sound  Engineering," 


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Cinema,  Ine. 


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Cinematographers  are  invited  to 
use  the  services  of  our  technical 
personnel  and  up-to-date  facilities 
— under  the  operative  di  "action  of 
Jacic  Guerin 


682.^  Sunta  Monica  Boulevard 
Hollywood,  California 
Telephone — Hollywood  3961 
Cable  Address:  Ineinema 


w^hich  is  being  published  by  the  Research 
Council  of  the  Academy  of  Motion  Pic- 
ture Arts  and  Sciences  and  which  has 
just  come  from  the  press. 

The  book,  a  525  page  work,  which  is 
now  on  sale,  contains  the  lectures  pre- 
sented to  the  council  sound  course 
classes  by  Fred  Albin,  engineer,  sound 
department.  United  Artists;  L.  E.  C^ark, 
now  with  the  Dunning  Process  Com- 
pany and  formerly  engineering  mana- 
ger, RCA  Manufacturing  Company; 
John  Hilliard,  transmission  engineer, 
sound  department,  MGM;  Harry  Kim- 
ball, engineer,  sound  department,  MGM, 
and  A.  P.  Hill,  now  of  the  Southern 
California  Telephone  Company  and  for- 
merly acoustic  superintendent.  Electrical 
Research  Products,  Inc.  Added  material 
has  been  prepared  by  William  Koenig, 
chairman  of  the  Research  Council;  Wes- 
ley C.  Miller  and  Kenneth  Lambert  of 
MGM  sound  department,  and  Major 
Nathan  Levinson,  vice  chairman  of  the 
council  and  director  of  sound  at  WB- 
First  National. 

It  will  be  profusely  illustrated  with 
photographs,  charts  and  diagrams  and 
will  be  complete. 


January,  1938     •     American  Cinematographer  13 


Make-Up  Specialist  Can  Do  Much 
To  Assist  the  Cinematographer 


By  PERC  WESTMORE 
Head  of  Make-up  Department,  W arner 
Brothers-First  National  Studios 


PARTICULARLY  do  I  want  to  em- 
phasize that  a  corrective  make-up 
cannot  be  adopted  simply  because 
it  seems  good  from  the  viewpoint  of 
the  make-up  artist  alone.  Like  any- 
thing else  in  the  picture,  the  make-up 
must  be  made  to  be  photographed.  It 
must  be  planned  to  coordinate  with  the 
lighting  plans  of  the  cinematographer. 

Otherwise  you  are  likely  to  have  a 
make-up  that  is  trying  to  do  one  thing 
to  a  player's  face  while  the  lighting 
is  planned  to  quite  a  different  end.  The 
result  won't  reflect  much  credit  on 
either. 

At  Warner  Brothers  we  have  found 
the  best  way  to  plan  our  make-ups  is 
to  base  them  as  much  as  possible  on 
photographic  tests  made  with  the  man 
who  is  to  photograph  the  production. 
Visual  study  of  the  player's  face,  to- 
gether with  stills,  will  show  us  pretty 
well  what  ought  to  be  done;  but  they 
can't  show  us  what  the  cinematographer 
will  do  with  his  lighting,  nor  how  he 
will  do  it.  Therefore  our  make-up  artists 
work  in  close  partnership  with  the  pho- 
tographers, and  due  to  this  cooperation 
make-up  troubles  have  been  exceedingly 
rare. 

Aside  from  the  broader  matter  of  cor- 
rective make-up,  there  are  many  little 
detail  tricks  a  make-up  artist  can  use 
to  make  things  easier  for  the  camera- 
man. For  instance,  there  is  the  familiar 
problem  encountered  photographing 
players  with  blue  eyes. 

It  has  long  been  a  favorite  trick  of 
some  to  focus  a  baby  spotlight  fitted 
with  a  magenta  or  even  reddish  gelatin 
on  the  faces  of  such  players,  to  make 
the  blue  eyes  photograph  darker. 
A  Make-Up  Trick 

This  is  not  always  convenient,  but 
we  have  found  that  we  can  simplify 
this  problem  with  a  little  trick  of  make- 
up. If  a  tiny  spot  of  red — so  small  as 
to  be  virtually  invisible  to  the  eye — is 
placed  at  the  inner  corner  of  each  eye, 
we  get  the  same  effect  as  though  a 
magenta-filtered  lamp  were  used,  and 
the  eye  goes  dark. 

Making  up  eyes,  by  the  way,  is  a 
phase  of  make-up  that  is  none  too  well 
understood,  even  by  many  make-up  men. 
There  is,  for  instance,  a  very  common 
misconception  that  the  apparent  size  of 
an  eye  can  be  increased  by  drawing 
the  line  of  the  eyebrow  higher  above 
the  eye,  separating  brow  and  eye  by  a 


Part  II 

distance  of  perhaps  one  and  a  half  times 
the  diameter  of  the  eye. 

This  is  definitely  not  true;  such  an 
exaggerated  separation  actually  makes 
the  eye  seem  smaller.  If  you  doubt 
this,  a  simple  experiment  will  prove  it 
to  you.  Take  any  ordinary  coin  (a 
nickel  or  penny  is  a  handy  size)  and  on 
a  sheet  of  paper  trace  its  outline  twice. 

Using  the  same  coin  as  a  measure, 
space  an  eyebrow  line  one  and  a  half 
diameters  above  one  circle  and  another 
a  single  diameter  above  the  other.  The 
latter  will  definitely  appear  larger,  even 
though  you  know  and  can  prove  both 
were  drawn  around  the  same  penny.  In 
practice  we  have  found  the  best  results 
in  eyebrow  make-up  come  when  the  brow 
is  spaced  almost  exactly  one  diameter 
above  the  eye. 

Solving  a  Problem 

The  use  of  rouge  on  the  faces  of 
feminine  players  has  been  the  subject 
of  a  good  deal  of  debate.  At  our  studio 
we  use  it  frequently.  Not  by  any  means 
for  photographic  effect,  but  for  the 
psychological  stimulus  it  gives  the  ac- 


tress.  When  a  woman  arrays  herself 
to  look  her  best,  she  almost  always  ap- 
plies at  least  a  trace  of  rouje  to  her 
cheeks.  Many  feel  actively  uncomfort- 
able without  it.  They  are  not  at  ease 
made  up  for  a  picture,  minus  rouge. 

On  the  other  hand,  the  spot  of  color 
made  by  any  ordinary  rouge  would  be 
most  undesirable  photographically. 

We  have  solved  this  problem  by  using 
the  special  Technicolor  rouge  which  was 
introduced  at  the  time  when  Technicolor 
scenes  were  often  filmed  by  a  black- 
and-white  camera  as  well  as  by  the  color 
camera. 

This  rouge  presents  a  natural  appear- 
ance to  the  eye  and  to  the  color  cam- 
era, but  it  is  invisible  to  the  black- 
and-white  camera.  Accordingly,  it  gives 
the  actress  her  mental  uplift  without 
showing  any  photographic  effect. 

It  may  be  mentioned,  too,  that  at  War- 
ner Brothers'  all  players — men  included 
— wear  make-up.  In  many  cases  the 
men,  too,  benefit  as  much  from  corrective 
make-up  as  do  the  women.  And  as  you 
can  readily  appreciate,  the  result  on  the 
screen  is  much  better  if  the  men  are 
(Continued  on  Page  i.0) 


Perc  Westmore,  left,  confers  before  a  mirror  with  Paul  Muni,  as  actor  being 
prepared  for  his  part  in  Warner  Brothers  "Zola"  calls  attention  to  a  questionable 

spot  in  his  make-up 


14     American  Cinematographer     •     January,  1938 


Engineer  Discusses  Requirements  of 
True  Stereoscopy  in  Motion  T^ictures 

By  G.  W.  WHEELRIGHT, 
Lancl-Wheelrij;ht  Laboratories,  Boston 

Paper  Presented  at  Recent  Fall  Meeting  Society  Motion  Picture  Engineers  at  New  York  and  Now 

Reprinted  from  December  Issue  of  That  Society's  Journal 


THE  subject  of  stereoscopy  is  age- 
old,  as  we  all  know.  Leonardo  da 
Vinci  in  some  of  his  writings  in- 
dicated that  he  understood  the  principle 
of  two-eye  pictures  and  the  geometrical 
differences  between  what  one  eye  saw 
and  what  the  other  eye  saw. 

The  original  work  of  making  mechan- 
ical devices  that  would  reproduce  for  us 
the  stereoscopic  effect  we  should  have 
seen  if  we  had  been  present  was  started 
between  1832  and  1837. 

There  is  some  discussion  whether  Mr. 
Eliot  or  Professor  Wheatstone  did  the 
first  work.  Certainly,  Eliot's  suggestions 
were  that  one  should  hold  the  pictures 
in  such  a  manner  that  one's  eyes  were 
crossed  when  viewing  a  pair  of  pictures, 
and  he  showed  a  mechanical  means  for 
preventing  each  eye  from  seeing  the  pic- 
ture not  intended  for  that  eye.  It  was 
Wheatstone,  however,  who  did  the  excel- 
lent thoroughgoing  analysis  of  stereo- 
scopy. 

Another  famous  man  of  that  period, 
Sir  David  Brewster,  also  gave  consider- 
able time  and  attention  to  the  subject. 
Whereas  Wheatstone  had  held  two  pic- 
tures and  viewed  them  through  mirrors 
so  adjusted  that  each  eye  saw  only  its 
own  picture,  Brewster  conceived  the  idea 
of  using  first  two  lenses  and,  later,  parts 
of  two  lenses  to  make  up  the  familiar 
device  known  to  us  all  as  the  stereoscope. 
Eye-Distance  Apart 

This  device  employed  two  pictures 
taken  eye-distance  apart  and  shown  to 
our  eyes  through  a  box-like  device,  each 
eye  having  its  own  lens  focused  upon  its 
own  picture.  It  was  far  simpler  to  use 
and  more  practicable  for  general  use 
than  the  Wheatstone  viewer. 

It  suffered  from  the  serious  disadvan- 
tage in  close  analytical  work  that  pic- 
tures could  not  be  substantially  greater 
than  2V:i  inches  in  breadth,  which  is, 
roughly,  the  normal  eye  separation  of 
the  human  being.  Our  own  Oliver  Wen- 
dell Holmes  later  suggested  minor  im- 
provements employing  Brewster's  method 
of  viewing. 

Soon  after  this  stereoscopes  enjoyed 
an  enormous  popularity;  and  every  ama- 
teur, as  well  as  a  host  of  professional 
photographers,  was  taking  stereoscopic 
pictures.  Among  the  many  possible  rea- 
sons for  the  subsequent  loss  of  interest 


in  stereoscopy,  two  stand  out.  Many  per- 
sons, due  to  ignorance  of  the  subject  or 
the  desire  to  fool  the  gullible  public,  took 
only  one  picture  of  the  scene  they  were 
making,  duplicated  it,  and  showed  it 
separately  to  each  eye. 

Although  this  duplication  creates  in 
the  mind  of  the  observer  something  dif- 
ferent from  the  ordinary  viewing  of  a 
single  picture,  it  of  course  does  not  give 
true  stereoscopy.  The  second,  and  perr 
haps  more  important  reason  for  the 
brevity  of  the  stereoscope's  popularity, 
is  the  fact  that  during  the  observation 
of  the  picture  the  observer  completely 
cuts  himself  off  from  the  rest  of  the 
world. 

This  is  essentially  an  unsociable  act. 
When  viewing  pictures  with  a  party  of 
friends,  it  is  difficult,  if  not  impossible, 
for  all  members  of  the  group  to  enjoy 
simultaneously  the  reactions  that  the  ob- 
server personally  is  enjoying. 

In  the  case  of  serious  study  or  consult- 
ation by  a  group  of  men,  such  as  doctors 
viewing  x-ray  stereograms,  these  stereo- 
scopes greatly  lengthen  the  period  of  ex- 
amination and  consultation;  and  often 
such  observers  subsequently  do  not  agree 
to  what  they  saw  individually. 

If  they  had  all  been  able  to  look  simul- 
taneously, they  could  have  reached  a 
conclusion  more  rapidly  and  with  less  un- 
certainty. 

It  would  now  seem  worth  while  to 
consider  the  requirements  of  true  stereo- 
scopy. The  various  factors  that  contri- 
bute to  the  perception  of  depth  are: 

(a)  Overlap.  In  a  single  picture  the 
branch  of  a  tree,  for  instance,  cuts  across 
a  person's  body,  thereby  showing  that  the 
branch  must  be  in  front  of  the  person, 
while  not  telling  exactly  how  far  in 
front. 

(b)  In  a  single  picture,  a  noticeable 
concentration  of  detail  in  the  foreground 
and  lack  of  such  detail  in  the  background. 

(c)  In  a  single  picture,  the  diminu- 
tion in  size  of  known  objects  such  as 
telegraph  poles  along  a  roadside  running 
off  into  the  distance. 

Lighting  Enhances  Depth 

(d)  In  a  single  picture,  haze  and  gen- 
eral blue  tone  of  distant  scenes. 

(e)  In  a  single  picture,  lighting  effects. 
It  is  well  known  in  the  art  that  depth 
effects' can  be  greatly  enhanced  by  clever 


lighting.  A  common  trick  of  the  expert 
photographer  is  to  place  long  shadows 
in  his  picture.  Other  such  devices  pro- 
duce stronger  suggestions  of  depth  than 
does  the  amateur's  usual  flat  lighting. 

(f)  Two  pictures  taken  eye-distance 
apart  and  observed  in  some  manner  such 
that  each  eye  sees  its  own,  and  only  its 
own,  picture.  It  is  probably  safe  to  say 
that  no  serious  attempt  at  stereoscopy 
can  hope  to  be  successful  unless  it  takes 
into  account  the  fact  that  a  person's 
visual  perceptions  of  reality  depend  in 
part  upon  the  fact  that  he  receives  not 
one  but  two  sets  of  impressions  of  the 
outside  world. 

Each  of  these  impressions  is  in  itself 
clear  and  distinct,  and  has  its  own  geo- 
metric perspective  differing  from  that 
of  the  other  impression  because  of  the 
distance  apart  of  this  hypothetical  ob- 
server's eyes.  In  general,  the  appearance 
of  the  pictures  as  a  reality  rather  than 
as  an  illusion  is  probably  most  satis- 
factory when  the  normal  condition  of 
viewing  is  rigorously  observed. 

Use  Normal  Separation 

It  does  not  follow  from  the  fact  that 
a  separation  of  2^2  inches  in  taking  the 
pictures  produces  a  result  far  more 
pleasing  than  a  single  picture  that  there- 
fore two  or  three  times  normal  inter- 
ocular  separation  in  taking  the  pictures 
would  lead  to  an  effect  two  or  three 
times  as  pleasing. 

For  photographers  who  do  not  under- 
stand in  detail  the  geometry  of  stereo- 
scopic photography  and  viewing,  the  safe 
rule  is  to  use  normal  eye  separation  in 
taking. 

Serious  work  in  stereoscopic  photog- 
raphy has  developed  into  two  general 
technics,  each  of  which  is  based  upon  the 
general  idea  that  each  eye  must  see  its 
own  picture  and  only  its  own  picture. 

One  general  type  of  device  for  stereo- 
scopic viewing  makes  use  of  the  differ- 
ence in  direction  from  which  the  two 
eyes  see  the  picture.  Ives  has  given  this 
method  of  attack  much  serious  thought 
and  has  done  the  outstanding  work  in 
this  field. 

A  result  has  been  the  parallax  pano- 
ramagrams  now  seen  often  in  drugstore 
and  department  store  windows.  The  de- 
vice depends  for  its  success  upon  taking 
(Continued  on  Page  iS) 


January,  1938      •      American  Cinematographer  15 

ONLY  THE  FILLED  SEATS  DETERMINE  WHAT  THE  PICTURE  WILL  GROSS 


By  encouraging  theaters  to  show  the  product  of  the  studio  at  its  best,  it  is  hoped  to  contribute  to  the  general 
progress  of  the  Motion  Picture  Industry.  The  reproduction  below  shows  the  most  recent  advertisement  of 
the  series  now  appearing  monthly  in  leading  exibitors' journals. — NATIONAL  CARBON  COMPANY,  INC. 


16     American  Cinematographer     •     January,  1938 


Art  Reeves  Shows  New 
Ultra-  Violet  Recorder 


DESIGNED  around  the  "Line-o- 
lite"  ultra-violet  glow  lamp  re- 
cently described  in  these  columns, 
a  completely  new  sound  recorder  has 
been  introduced  by  Art  Reeves,  pioneer 
in  the  independent  manufacture  of  sound 
and  laboratory  equipment. 

The  new  recorder  is  perhaps  the  first 
to  offer  the  advantages  of  ultra-violet 
light  recording  to  the  independent  field, 
and  in  addition  it  is  believed  to  be  the 
first  commercially  available  unit  in 
which  "black  light"  has  been  used  for 
variable-density  recording. 

The  new  recorder  is  of  the  portable 
type.  Primarily  intended  for  a  fixed  in- 
stallation, either  as  a  studio  unit  or  in 
a  sound  truck,  the  equipment  is  suffi- 
ciently compact  to  be  carried  on  loca- 
tion as  a  portable  recording  outfit. 

Its  adaptability  is  heightened  by  pro- 
vision for  complete  interchangeability 
of  driving  motors,  permitting  normal 
operation  from  almost  any  desired  power 
supply,  including  batteries,  DC  or  AC 


generators,  or  from  alternating  current 
mains  of  almost  any  frequency. 

To  gain  this  flexibility,  the  driving 
motor  is  a  separable  unit,  attaching  to 
a  conventional,  camera-type  motor 
mount.  It  is  therefoi'e  possible  to  drive 
the  recorder  with  any  standard  camera 
motor  suited  to  the  current  supply 
available.  Normally,  battery  -  powered 
direct  current  interlock  motors  for  re- 
corder and  camera  are  supplied  with  the 
equipment. 

Simple  Design 

As  will  be  seen  from  the  illustration, 
the  design  of  the  new  recorder  has  been 
refined  to  a  point  of  high  simplicity. 
The  film  is  threaded  past  the  main 
sprocket,  over  appropriate  idling  rollers 
to  the  recording  drum,  past  the  take- 
up  sprocket  and  the  main  spi'ocket,  and 
into  the  magazine. 

All  of  the  sprockets  and  idling  rollers 
run  on  ball  bearings;  the  recording* 
drum  runs  free  and  is  connected  to  an 
efficient  damper,  of  a  type  not  affected 


by  temperature  change^.  The  gear  trains 
driving  the  sprockets  are  lubricated  by 
a  single  oiler;  the  ball  bearings  require 
no  lubrication,  as  they  are  of  a  special 
self-lubricating  type. 

Both  manual  and  automatic  speed  con- 
trol are  supplied.  The  latter  is  built 
into  the  recorder,  rather  than  into  the 
motor,  and  the  wiring  arrangement  is 
such  that  it  operates  with  any  type 
motor.  If  it  is  desired  for  any  reason 
to  control  the  speed  manually,  the  auto- 
matic speed  control  is  rendered  inopera- 
tive by  throwing  a  switch  in  the  base 
of  the  machine. 

A  standard  footage  counter  and  tachom- 
eter are  regularly  supplied,  being  built 
into  the  recording  head  on  the  right- 
hand  end,  where  both  are  easily  visible 
to  the  recordist. 

Facilities  for  Two  Mikes 

The  amplifier  is  substantially  the  same 
type  already  familiar  in  Art  Reeves 
recorders.  It  is  contained  in  a  compact 
carrying  case  suitable  for  either  fixed 
or  portable  use.  Facilities  are  provided 
for  the  use  of  two  microphones,  which 
may  be  of  either  the  latest  dynamic 
types,  or  of  the  condenser  type,  includ- 
ing the  Reeves  "baby  bomb"  design. 
Metal  tubes  are  used  throughout,  mak- 
ing this  amplifier  completely  non-micro- 
phonic. 

The  ultra-violet  recording  unit  em- 
ployed is  the  new  Reeves  "Line-o-lite" 
glow-lamp.   This,  as  has  been  described 


Fully  Guaranteed  Used  35mm  Equipment 


Mitchell,  Bell  &  Howell,  Akeley, 
DcBrie,  Universal,  Pathe  Cameras. 
Portable  Sound  Recording  Outfits. 
Eyemo  and  De  Vry  Spring  Driven 
Cameras. 


Holmes  Projectors,  Sound  and  Silent. 

De  Vry  Suit  Case  Model  Projectors. 
We  buy,  sell  and  rent 
anything  Photographic. 


Camera  Supply  Co. 


1515  No.  Cahuenga  Blvd. 


Cable  Address:  CAMERAS 


Hollywood,  Calif. 


FAXON  DEAN 

INC. 

CAMERAS 

BLIMPS-DOLLYS 

FOR  REXT 
MO.  11S3» 

4516  Sunset  Boulevard     Night,  No.  Hollywood  1271 


COOKE  CINE  LENSES 

Cooke  lenses  will  give  you  crisp, 
extremely  sharp  definition 
throughout  the  entire  spectrum. 
Envisioning  future  demands, 
Cooke  lenses  have  always  sur- 
passed current  requirements. 
Focal  lengths  for  every  need. 
Write  for  descriptive  literature. 

BELL  &  HOWELL 

COMPANY 

Exclusive  World  Distributors  of 
Taylor-Hobson  Cooke  Cine  Lenses 
1848  Larchmont  Avenue,  Chicago 
New  York:  11  West  42d  Street 
Hollywood:  7 1 6  N.  LaBrea  Avenue 
London:  13-14  Great  Castle  Street 


January,  1938 


American  Cinematographer  17 


THEBERnDT-mnURERcoRP 

117  East  24th  Street      •      New  York  City 


Berndt-Maurer,' pioneer  in  the 
development  and  manufacture 
of  commercial  16  mm.  High  Fi- 
delity Sound-on-Filxn  ftacording 
cameras  and  equipment,  presents 
a  newly  established  B-M  division 


New  Art  Reeves  ultra  fidelity  recorder 


in  these  pages,  is  a  recent  Reeves  de- 
velopment, designed  for  installation  in 
any  standard  glow-lamp  recorder. 

Its  peak  radiation  is  in  virtually  the 
same  band  of  the  ultra-violet  spectrum 
as  is  the  peak  sensitivity  of  the  newest 
recording  emulsions.  The  construction 
of  the  unit  is  such  that  no  physical 
aperture  is  used  in  this  installation  to 
produce  the  slit-shaped  recording  beam. 

The  light  source  of  this  tube  is  in  it- 
self a  narrow  line  of  light,  simplifying 
the  optical  projection  which  forms  the 
recording  beam  on  the  film. 

The  frequency  response  of  the  system 
is  practically  flat  to  10,000  cycles,  with 
a  gradual  taper  thereafter.  The  ampli- 
fier has  a  gain  of  over  125  db. 

Bringing  the  advantages  of  ultra- 
violet recording  to  the  independent  field, 
in  Art  Reeves'  opinion,  is  only  a  logical 
step  in  the  continued  advancement  of 
this  field.  "When  I  entered  the  business 
of  manufacturing  sound  equipment,"  he 
points  out,  "independently  manufactured 
sound  equipment  was  stigmatized  as 
'bootleg'  and  was  generally  regarded  as 
inferior. 

"Today  the  situation  is  different.  To 


remain  in  business  today  the  inde- 
pendent sound  or  laboi'atory  equipment 
manufacturer  must  have  business  and 
engineering  policies  no  less  stable  and 
progressive  than  any  major  firm.  What 
is  more,  he  must  oflter  truly  modern 
equipment. 

"That  my  firm,  one  of  the  first  in  the 
field,  has  survived  and  grown  has,  I  am 
sure,  been  due  to  the  fact  that  our 
products  were  in  every  case  engineered 
up  to  the  most  modern  standards,  not 
built  dcwn  to  a  price. 

"In  the  present  instance,  we  have 
been  able  to  produce  an  ultra-violet 
sound  recorder  for  this  market  while 
ultra-violet  recording  is  yet  the  out- 
standing development  in  major-studio 
sound.  To  do  this,  our  facilities  have 
been  expanded  and  centralized  until 
every  component  of  our  recorder  is  built 
in  our  own  factory. 

"Glow  -  lamps,  motors,  transf  omiers 
and  many  other  parts  are  built  com- 
pletely in  this  plant,  with  the  result  that 
here,  as  in  any  other  unit  the  manufac- 
ture of  which  is  thus  centralized,  the 
entire  equipment  can  be  engineei'ed  as  a 
unit,  rather  than  as  an  assembly  of 
separately  planned  items." 


EASTERN 
HEADQUARTERS ,;; 
FOR  THE 

CAMERAMEj« 


STUDIO  £  CUTTING 


M3Si»TS.LP.c: 


TCHELL  CA 

ROOM  EQUIPMENT 


meras 


FRANK-ZUCKER 


CABLE  AtDRESS:  CINEQUIP 


^AMERA  EQUIPMENT 

1600  BROADWAY  N.Y.c.  \       CIrcle  6-5060 


An  illustrated  brochure  of  B-M' 
equipments  and  ffii%jn.ces  will 
be  sent  upon  request.  A  \&  mm. 
demonstration  sound  film  is 
available  to  responsible  parties,  i 

 ^  ^ 

B  E  R  N  D  T  -  VC^S^U  R  E-i? 

PRECISIOn' 

FILM  LABORATORIES 

21  West  46th  St.    •    N.  Y.  C. 


equipped  for  every  16  mm.  re' 
quirement  with-^ 

Autpmatic  film  processing 

Sensifometric  control 

Cinex  timing 

Complete  air  conditioning 

Optical  and  contact  printers  for 
)6  mm.  to  16  mm.  and  35  mm. 
to  16  mm.  sound  and  picture 

Cutting  and  editing  rooms 

'  16  mm.  opd  35  mm.  projection 
theatres 


which  enables  B-M  to  provide  a 
complete,  unified  and  up-to-the- 
minute  service  for  the  producer 
of  commercial  16  mm.  sound 
films  in  the  advertising,  sales 
and  educational  fields.  _ 


18     American  Cinematographer     •     January,  i;);}X 


The  accompanying  picture  shows  the  buildings  recently  constructed  by  Electrical  Research  Products,  Inc.  (ErjA — a  subsidiary 
of  the  Western  Electric  Company,  Inc.)  which  are  now  occupied  by  it  as  laboratory,  warehouse  and  office  building  in  Holly- 
wood. These  buildings,  at  Romaine  and  Seward  Streets,  are  utilized  for  the  development,  manufacture  and  furnishing  of 
sound  equipment  to  studios,  as  well  as  offering  technical  fa  cilities  for  the  production  of  sound  pictures.  The  group  will 
improve  and  enlarge  ERPI's  facilities  for  serving  studios,  which  portion  of  its  business  is  not  affected  in  any  manner  by 
the  discontinuance  of  the  sale  and  service  of  reproducing  equipment  to  theatres.  The  new  address  of  the  company  is  6601 
Romaine  street,  Hollywood. 


Throughout  the  Year 


ASOLARSPOT/or 

EVERY  lighting  need. 


MOLE -RICHARDSON,  Inc. 

941  No.  Sycamore  Ave.,  Hollywood,  Calif. 
Cables:  "Morinc" 


Fried   Laboratory  Equipment 

35MM         I6MM  COLOR 
Printers:    Color,    Continuous,    Step,  Optical 
Lite   Testing    Machines   Developing  Mact)ines 

FRIED  CAMERA  CO. 

6154  Santa  Monica  Blvd.,  Hollywood,  Gal. 
Cable:  FRIEDCAMCO 


COMPLETE  NEW  LEVE 
Variable  Area  Recording 
Equipment 

Blue  Seal  Sound  Devices,  Inc. 

723  Seventh  Ave.,  New  York  City 
Cable  Address:  Soundfilm 


Wanted  to  buy  fi^i  spot 
CASH 

CAME  II  AS 

MireHCLL  »  B€LL  a  HOWeLL 
eYe/V10»D€BRI£°AKeLeYetc. 

AceessGRies 

LABORATORY  AND  CUTTING  ROOM 
eQUlP/V\eNT 


;-5080 


January,  1938     •     American  Cinematographer  1!) 


A.  S,  C.  ON  PARADE 


•  Victor  Milner,  A.S.C.,  has  been  named 
by  President  Frank  Capra  of  the  Acad- 
emy as  a  member  of  the  general  com- 
mittee to  have  charge  of  the  award 
banquet  March  3. 

•  George  Robinson,  A.S.C.,  has  been 
signed  on  a  new  contract  by  Universal. 

•  Arthur  Todd,  A.S.C.,  in  the  middle  of 
the  month  started  shooting  on  Warner 
Brothers'  "Penrod's  Double  Trouble." 

•  Sid  Hickox,  A.S.C.,  gave  his  attention 
to  Warners'  "Men  Are  Such  Fools" 
during  the  month.  It  meant  postponing 
a  vacation  to  Mexico. 

•  Edward  O.  Blackburn,  A.S.C.,  in  ac- 
cordance with  his  yearly  custom,  left 
Hollywood  in  two  drawing  room  cars 
December  27  for  the  Yosemite  as  host  to 
a  party  of  friends.  The  group  will  re- 
main over  New  Year's,  returning  Jan- 
uary 3.  Winter  sports  will  claim  the 
attention  of  all  the  athletically  inclined. 

•  George  S.  Barnes,  A.S.C.,  became  the 
father  of  a  son  December  22.  The  new 
comer  was  an  eight-pounder  and  was 
born  at  the  Good  Samaritan. 

•  Karl  Freund,  A.S.C.,  iust  back  from 
a  four  months'  trip  to  Europe,  was  set 
by  MGM  to  photograph  "Madelon." 

•  Johnny  Mescal,  A.S.C.,  while  photo- 
graphing "Happy  Landing"  for  Twen- 
tieth-Fox, took  a  smack  at  the  course 
record  of  Rancho.  He  was  matched 
against  Bruce  McCormick,  public  links 
United  States  amateur  champion,  in  the 
Southern  California  invitational.  The 
A.S.C.    man    scored    66-71-137  against 


•  Light  Testers — Polishers  used  by  all 
major  studios.  We  are  the  Sole  Mfrs. 
and  Distributors. 

•  Mfrs.  of  16mm  and  35mm  Recording 
Heads,  Amplifiers,  Developing  Ma- 
chines, Printers,  Etc. 

CINEMA  ARTS— CRAFTS 
914  N.  Fairfax   HE-1984   Hollywood.  Calif. 


De  Brie  at  Sacrifice 

New  Type  SUPER  PARVO  DEBRIE 

Ultra  Silent  Camera       No   Blimp  Necessa-y 

Has  built-in  motor,  automatic  dissolve, 
pilot  pins  and  antl-buckling  device.  Four 
lOOO-ft.  magailnes — 40  mm,  50  mm  and  75  mm 
F2.3  lenses — Mitchell  tripod,  De  Brie  upright 
finder,  set  of  front  attachments.  Leather 
covered  carrying  trunk  and  tripod  cover.  It's 
the  latest  type  equipment  .  .  .  like  new! 

Camera  Equipment,  Inc. 


1400  Broadway 
Tel.  Circle  6-5080 


New  York  City 
Cable:  Cinequip. 


72-68-140,  and  tied  the  course  record. 
And  that's  some  shootin'. 

•  Signey  C.  Wagner,  A.S.C,  was  one  of 

the  indirect  sufferers  from  the  hostili- 
ties in  the  Orient.  He  was  a  passenger 
on  the  big  S.S.  Hoover,  detouring  out 
of  her  regular  course  in  order  to  get 
away  from  trouble,  when  she  grounded 
on  a  reef.  Sid  was  on  his  way  to  Burmah 
to  photograph  a  picture  for  MGM. 


MOVIOLA 

FILM  EDITING  EQUIPMENT 

Used  in  Every  Major  Studio 
Illustrated   Literature  on  request 

MOVIOLA  CO. 

1451  Gordon  St.  Hollywood,  Calif. 


Complete  Studio  Equipment 

KRUSE 
Camera  Rentals 


HI  4464 

1033  N.  Cahuenga 


HI  8144 
Nite  MO.  13470 


For  Sale — Last  Word  in 
Camera  Equipment 

Complete  B  &  H  Camera,  shuttle,  also 
ultra  speed,  movement;  silent,  No.  974, 
insured  $5300.  5  Cooke  speed  Panchro 
lenses,  from  24mm.  to  6%,  all  operate 
f.2.  Cine  motor,  foot  counter,  magazines, 
battery  box,  filters,  test  box,  complete 
matte  box,  Mitchell  upright  finder, 
Mitchell  freehead,  2  Mitchell  tripods 
Weston  meter  and  many  accessories. 
Guaranteed  finest  condition.  Will  con- 
sider offer.  Address  Box  974,  A.S.C. 
offices. 


RENTALS 


SERVICE 

DOLLIES 


MOTION   PICTURE    CAMERAS   -  BLIMPS 

ACCESSORIES 
HIGH-SPEED  CAMERAS     HIGH-SPEED  MOTORS 


AND  ALL 
MOTOR  EYEMOS 


LANDERS  €c  TRISSEL,  Inc. 

PHONE  6313  SUNSET  BOULEVARD  Night 

NEAR  VINE  STREET  Landers  HE  1311 

HE-2277  HOLLYWOOD,  CALIFORNIA  Trissel-No.  Hoi,  5992W 


FILM  TESTED 


Automatic  Developing  Machines 

Soundolas 

Sensitesters 

Reeves-lites 

Variable  Area  Sound  System 
Microphone  Boom 
Sound  Accessories 


=   Laboratory  Accessories 


ART  REEVES 

MOTION   PICTURE  EQUIPMENT 

Cable  Address:  ARTREEVES 
7512  Santa  Monica  Blvd.  Hollywood.  California  U.  S.  A. 


20     American  Cinematographer  • 


January,  1938 


Universal  Photo  Almanac 
and  Market  Guide  Is  Out 

Issued  by  the  Fa'k  Publishing  Com- 
pany, the  Universal  Photo  Almanac  and 
Market  Guide  is  a  credit  to  its  makers. 
Its  objective  is  the  creation  of  a  photo- 
graphic annual  which  shall  present  all 
the  new  developments  in  photography 
from  the  angle  of  the  technician,  the 
craftsman  and  the  sincere  amateur  who 
is  desirous  of  learning  what  to  photo- 
graph and  how  to  photograph  it. 

The  bock  contains  236  pages  in  paper 
covers.  Seme  of  the  more  important  arti- 
cles and  departments  are  "Paper  Nega- 
tives," by  Dr.  Max  Thorek;  "Make  Min- 
iature Camera  Portraits,"  Hslene  San- 
ders; "Elementary  Photomicography," 
John  F.  Brandt;  "Hints  on  Miniature 
Camera  Use,"  Augustus  Wolfman; 
"Color  Prints  from  Kodachrome,"  Her- 
bert C.  McKay;  Pictorial  Section,  Uni- 
versal Market  Guide,  and  Bibliography. 


Honor  Where  .  .  . 

In  doinu  the  honors  last  month  to 
those  photographically  affiliated  with  the 
making  of  Goldwyn's  "Hurricane"  we 
omitted  the  names  of  three  others  who 
had  done  their  bit  in  the  "teeth  of  the 
gale."  These  were  Archie  Stout,  A.S.C., 
and  Paul  Eagler,  A.S.C.,  who  did  the 
South  Sea  Island  scenes,  and  Ray  Binger, 
responsible  for  the  special  process  work 
at  the  home  studio. 


BERGEN  PLANS  TO  MAKE 
TRAVEL  FILMS 

(Continued  from  Page  98) 
of  seeing  strange  and  distant  places  on 
the  screen.    To  be  successful,  though, 
travel  films  must  be  planned  from  a 
showmanship  angle. 

"In  the  future,  I  hope  to  make  many  of 
these  travel  films,  and  I  hope  to  be  able 
to  do  it  in  a  way  that  audiences  will  like. 

"At  any  rate,  I'll  try  to  get  away  from 
the  traditional  dry-as-dust  photographic 
presentation  of  facts,  and  put  on  the 
screen  something  of  the  glamor  and 
romance  of  these  far  places.  I  hope  that 
the  results  will  be  worthy  of  the  A.S.C. 
membership  I  have  been  given." 

No  man  is  a  hero  to  his  valet,  and 
few  cinematographers  seem  overly  great 
in  the  eyes  of  their  assistants.  So  the 
closing  remarks  must  rightfully  come 
from  Assistant  Cameraman  Charlie  Mc- 
Carthy.  Asked  for  his  opinion  of  Ber- 


gen as  a  cinematographer,  Charlie's 
reply  was: 

"Is  that  man  Bergen  a  photographer? 
Oh,  definitely.  He  keeps  one  room  of 
our  house  all  cluttered  up  with  cameras 
and  projectors;  he  has  his  old  Univer- 
sal, the  De  Brie,  an  Eyemo,  a  Holmes 
sound  projector,  six  or  eight  still  cam- 
eras and  miles  of  film  that  don't  have 
a  single  frame  of  me.  And  the  man 
simply  collects  cameras;  he  never  sells 
them.  Now  I  a.^k  you,  could  anyone  but 
a  cinematographer  be  such  a  dummy  as 
that?" 


Although  cinema  attendance  in  Ger- 
many set  a  new  high  record  in  1936-37, 
the  production  end  of  the  industry  re- 
mained in  the  red.  Total  attendance 
came  to  359  million,  2  percent  higher 
than    in    the    previous    record  season. 


VARIABLE  AR£A 


JSmm  to  Iftmm 

uoucnon  souno  Piufi 

WD 

SOUND  eammcNT 


CR.  SKINNER 


%m  FranoMco.  C^ir^rru 


Astro 

LENSES 


F  1.8 
F2.3 


for  sale  by 

Mitchell  Camera  Corporation 

665  North  Robertson  Blvd. 
West  Hollywood,  California 


EVERYTHING  PHOTOGRAPHIC 

for  Professional  and  Amateur 

New  and  Used,  bought,  sold,  rented  and 
repaired.     Deslcjners    and  manufac- 
turers of  H.  C.  E.  Combination 
lens  shade  and  filter-holder 
for  any  size  lens. 

Hollywood  Camera  Exchange 

1600  Cahuenga    Blvd.,  Hollywood 
Tel.  HO  3651 
Cable  Address:  HOcamex 
Send  for  Bargain  Catalog  A 


A 


i 
1 


rno  C  0  a  D  0  0777? 


Motion  Picture  Camera  Supply  u.. 

723  SEVENTH  AVENUE.  NEW  YORK.N.Y. 
BRYANT  9-7755  •  CABLE .  CINECAMERA 


EASTMAN 
SUPER  X 


And  a 
Happy  New  Year! 


J.  E.  BRULATOUR,  INC. 


'^l£l4^  PROJECTOR  SH 
/        EVERY  FILM  AT  ITS 


OWS 
BEST 


THE  finest  camera  work  is  spoiled 
by  poor  projection,  and  the  life  of 
priceless  films  is  shortened  by  use  on 
any  but  the  finest  projector. 

Filmo  Projectors,  regardless  of  the 
model,  are  all  made  with  the  same  pre- 
cision craftsmanship  as  the  Bell  & 
Howell  professional  equipment  pre- 
ferred in  Hollywood.  All  have  the 
many  exclusive  Bell  &  Howell  features 
that  enable  them  to  give  unmatched 
theater-quality  performance. 

Whether  you  are  interested  in  audi- 
torium presentations  to  large  audi- 
ences or  in  private  exhibition  of  your 
films  for  the  enjoyment  of  your  family, 
you  want  steady,  sharply  focused,  uni- 
formly bright,  flickerless  pictures.  You 
want,  too,  a  projector  that  will  handle 
your  films  so  gently  that  they  will  not 
be  endangered  or  their  life  shortened. 
»  Such  is  the  safe,  dependable  service 
that  you  may  expect  of  any  Filmo  Pro- 
jector. 

To  determine  which  Filmo  Projector 
best  meets  your  individual  needs,  send 
for  informative  literature.  If  you  wish 
information  about  a  Bell  &  Howell 
Filmo  Camera,  indicate  your  desire  on 
the  coupon  below. 

Filmo  Cameras  make  fine  movies— 
Filmo  Projectors  show  movies  at  their 
best.  Bell  &  Howell  Company,  Chi- 
cago, New  York,  Hollywood,  London. 
Established  1907. 


Filmo  129  Projector  for  16  mm.  iilent  film,  has  750-watI 
lamp,  F  1.6  lens,  1600-foot  film  capacity,  fast  power  re- 
wind, reverse  and  still  projection.  With  case,  $197.  1000- 
watt  Filmo  130,  $412.50.  Filmos  with  400-foot  film 
capacity,  from  $147. 


NEW.' 

FILMOSOUND  130 


WOO-WAJT  SOUND  FILM  PROJECTOR 


Filmosound  130  now  appears  in  the  new,  improved 
model  pictured  above.  Completely  redesigned,  the 
amplifier  provides  a  modern,  sloping  control  panel 
from  which  one  projector  is  stopped  and  the  other 
started  by  the  turning  of  a  single  switch.  The  full  50- 
watt  output  of  the  amplifier  is  available  when  two 
speakers  are  used.  Twin  speakers  are  desirable  for 
sound  distribution  as  well  as  volume.  With  one 
speaker,  amplifier  output  is  necessarily  limited  to  30 
watts.  The  new  Filmosound  130  may  be  had  with 
either  one  or  two  1 000-watt  projectors,  either  one  or 
two  speakers.  Details  upon  request.  There  are  other, 
smaller  Filmosounds,  too,  all  recently  improved. 


Requirements  best  and  mt 
lastingly  met  by 


1.  Uniformly  Brilliant  Pictures  —  ample,  evenly  disti 
uted  illumination  with  no  dim  edge  or  corner  atl 

2.  Fllckerless  Pictures— for  flicker  tires  the  eyes. 

3.  Steady  Pictures  — no  eye-tiring  jump. 

4.  Sharply  Focused  Pictures— sharp,  clearly  defined 
ages  that  preserve  detail  and  beauty  and  avoid  ■ 
strain. 

5.  Uninterrupted  Programs  —  showmanlike  prese 
tions,  free  of  annoying  delays. 

6.  Complete  Film  Protection- maximum  life  for  pr 
less  films  that  perhaps  can  never  be  replaced. 

7.  Ease  of  Operation— error-avoiding  design  and  ( 
struction  make  projection  real  fun— not  an  ord 

8.  Ease  of  Maintenance  —  so  that  you'll  keep  it 
forming  as  when  new. 

9.  Long  Life — inbuilt  precision  manufacture  gives 
Filmo  dependability  and  pays  dividends  in  I 
dollars  and  pleasure. 

and  in  FILMOSOL  MD  Projectors,  also 

10.  Clear,  Crisp  Speech  Reproduction. 

11.  Pleasant,  Natural  Musical  Quality. 


Mail  Coupon 
Free  Injormat 


Filmo  8  mm.  Projector  provides  400-  or  500-watt  direct 
illuminatioa,  fast  F  1.6  lens,  rock-steady  screen  pictures 
due  to  camera-matched  mechanism,  still-picture  projec- 
tion, power  rewind,  and  "Floating  Film"  protection.  200- 
foot  8  mm.  film  capacity.  With  case,  $1 18. 


BELL  &  HOWELL 


C^Ue-KUai  MODEL  E 

AN  EASTMAN  16  MM.  MOVIE  CAMERA  FOR  ONLY 


ALTHOUGH  the  lowest-priced  16  mm.  Cine- 
Kodak  ever  offered,  Cine-Kodak  Model  E 
boasts  many  advanced  features.  Has  fast,  pre- 
cision-made Kodak  Anastigmat  f.3.5  lens. 
Three  speeds — Normal,  Intermediate  and 
Slow  Motion — 16,  32  and  64  frames  per  sec- 
ond. New-type  enclosed  directrview  finder  has 
supplementary  footage  indicator  at  side  of 
finder  image ...  shows  you  the  picture  you're 
taking;  how  much  film  you're  using  for  it;  and 
how  much  film  remains  unexposed.  Angled 
design  makes  sighting  easy,  even  when  wearing 
hat.  Single-plane  loading... simplified  gate  into 
which  you  just  slip  the  film... and  ample 


finger  room  around  sprocket  unite'  to  make 
threading  easy.  . 

Plus  16  mm.  Versatility 

You  can  get  brilliant  screen  pictures  up  to 
eight  feet  in  width — with  Cine-Kodak  E's 
team-mate  for  projection,  Kodascope  EE, 
similarly  low-priced  from  $59.25.  And,  you 
can  use  either  50-  or  100-foot  rolls  of  the 
five  Cine-Kodak  16  mm.  films — for  filming  in 
black-and-white  or  full-color  Kodachrome — 
indoors  or  out.  Let  your  dealer  show  you  this 
camera — and  the  kinds  of  movies  you  can 
make  withjt— at  only  $-t8.50. 


EASTMAN  KODAK  COMPANY,  Rochester,  N.  Y 


January,  1938     •     American  Cinematogeapher 


AMATEUR  MOVIE 


SECTION 


SOCIETY 

OF  AMATEUR 

CINEMATOGRAPHERS 


BOARD  OF  REVIEW 

Victor  Milner,  President,  A.S.C.,  Director 
of  Photography  Paramount  Studios,  Acad- 
emy Award  Winner  1935 

Karl  Struss,  A.S.C.,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award 
Winner  1928 

Fred  W.  Jackman,  Treasurer  American  So- 
ciety of  Cinematographers 

Dan  Clark,  A.S.C.,  Director  of  Photog- 
raphy Twentieth  Century-Fox 

Tony  Gaudio,  A.S.C.,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 
Award  Winner  1937 


Contents.... 


Sherlock  of  Australia  Winner  of  Cine- 

matographer's  Contest   26 

By  George  Blaisdell 

Bell  and  Howell  Has  Novel  8mm.  Film 
Viewer   29 

Amateur  Cinematographers  Seek  to  Make 

Better  Motion  Pictures  30 

By  A.  L.  Gram 

Bell  and  Howell  Producing  Four  Film- 
on-Sound  Projectors   31 

There  Are  Thrills  Aplenty  for  He  Who 

Dramatizes  Iron  Horse  32 

By  William  Stull,  A.S.C. 

Notes  of  the  Movie  Clubs  34 

Eastman  Issues   New   Model  Miniature 
Camera  in  Retina  II  36 

Englishman  Analyzes  American  Film 

Makers   37 

Must  Be  Practical  Plan  for  Educationals' 

Distribution   38 

By  Reed  N.  Haythorne 

High  School  Lad  Finances  His  Films.  .  .  .39 
By  George  Oliver  Smith 

Here's  the  Answer  41 


26     American  Cinematographer     •     January,  1938 


Sherlock  of  Australia  IV inner 
of  Cinematographer  s  Contest 

Tsukamoto  of  Japan  Takes  Photographic  Honors — 
Lawrenson  of  Scotland  Home  Movie  Winner — 
Fifty-one  of  Sixty  Entries  Are  16mm — 
Winners  Evenly  Divided  on  Color 


JAMES  A.  SHERLOCK,  S.A.C,  Sydney,  Australia,  with  his  "To  the 
Ships  of  Sydney,"  is  the  winner  of  the  grand  prize  of  $200  in  the 
American  Cinematographer's  1937  International  amateur  competi- 
tion for  8mm  and  16mm  films.  Under  the  terms  of  the  gift  of  $100  in 
merchandise  by  Bell  and  Howell,  to  go  to  the  maker  of  the  film  which  in 
the  opinion  of  the  judges  was  the  best  in  photographic  technique  of 
those  films  made  entirely  with  Bell  and  Howell  cameras,  the  man  Down 
Under  automatically  comes  in  for  a  second  award. 

There  were  sixty  entries,  of  which  fifty-one  were  in  16mm.  and  nine 
in  8mm.  There  were  fourteen  prizes,  of  which  two  automatically  went 
to  the  winner  using  specified  equipment. 


The  second  of  the  two-time  winners 
was  Dr.  Roy  E.  Gerstenkorn,  member 
of  the  Los  Angeles  Cinema  Club,  whose 
winning  entry  in  the  educational  class 
of  "Japan  and  Its  People"  was  photo- 
graphed on  Agfa  film,  the  manufactur- 
ers of  which  had  contributed  two  prizes 
restricted  to  Agfa  users. 

Eleven  of  the  twelve  winners  entered 
films  which  had  been  photographed  on 
16nmi.  film  and  one  had  used  8mm. 
Three  of  the  twelve  live  in  Los  Angeles. 

Six  of  the  winners,  five  of  them  using 
16mm.  and  the  sixth,  John  E.  Walter, 
retiring  vice  president  of  the  Los  An- 
geles 8mm.  Club,  using  8mm.,  photo- 
graphed on  color.  The  remaining  six, 
all  of  them  in  16mm.,  used  black  and 
white. 

Nine  contributors,  each  for  some  un- 
usual factor  or  factors  in  his  entry,  were 
awarded  honorable  mention.  Five  of 
these  entries  were  in  16mm.  and  four 
in  8mm. 

HONORABLE  MENTION 
16mm. 

"The  Least  Tern,"  E.  N.  Harrison,  Los 
Angeles. 

"Voyageur's  Trail,"  Duncan  MacD.  Lit- 
tle, New  York. 

"Under  Your  Own  Power,"  Sidney 
Moritz,  New  York. 

"If  Rugs  Could  Talk,"  William  W. 
Murphy,  Bloomfield,  N.  J. 

"Civic  Artivities,"  Manuel  M.  Rocker, 
Cleveland. 

8mm. 

"The  Engineer's  Daughter,"  Earl 
Cochran,  Colorado  Springs,  Colo. 

"San  Francisco-Oakland  Bay  Bridge," 
Raymond  O'Connell,  Oakland. 

"Discovery,"  William  R.  Poulson,  Los 
Angeles. 


"Kleptomania,"  Bion  B.  Vogel,  Los 
Angeles. 

Much  time  and  thought  were  expended 
by  the  committee  on  awards  in  the  ex- 
aiTiining  and  eliminating  and  selecting 
of  the  subjects  submitted  for  the  annual 
amateur  contest,  the  first  of  which  was 
held  in  1932.  The  final  committee  was 
composed  of  members  of  the  American 
Society  of  Cinematographers. 

Good  Does  His  Bit 

One  of  these  members,  Frank  B.  Good, 
secretary  of  the  society,  earned  the  com- 
mendation and  the  gratitude  of  his  fel- 
lows on  the  committee  as  well  as  of  the 
society  by  his  faithful  attendance  at  all 
of  the  meetings  of  the  jury,  which 
meant  an  average  of  six  afternoons  a 
week  for  two  and  a  half  weeks,  as  well 
as  a  number  of  evenings. 

He  brought  to  the  task  not  only  a 
wide  experience  in  photographing  mo- 
tion pictures  in  many  parts  of  the  world 
but  a  judgment  sharpened — -and  also 
softened — by  several  months  this  fall  in 
Alaska  at  the  head  of  the  camera  unit 
photographing  the  locale  sequences  of 
Paramount's  "Spawn  of  the  North,"  a 
subject  marked  for  production  this 
spring.  He  knows  the  photographic  haz- 
ards and  handicaps. 

He  was  peculiarly  equipped  to  under- 
stand the  difficulties  encountered  by 
some  of  the  contestants  who  had  under- 
taken work  that  would  require  for  suc- 
cessful completion  the  background  of  a 
wide  training  in  camera  work.  He  was 
quick  to  recognize  good  photography, 
especially  if  the  contestant  scored  both 
in  interiors  and  exteriors.  Also  he  stood 
alternate  watch  with  Bill  Stull,  A.S.C., 
at  the  8mm.  and  16mm.  projectors. 
Few  Dead  Open  and  Shut 

Unfortunately  for  the  committee,  but 


speaking  well  for  the  general  average 
of  the  entries,  the  "dead  open  and  shut" 
decisions  were  few  and  far  between.  In 
hardly  an  instance  did  any  one  suggest 
the  tops  in  the  class  under  discussion 
but  a  fellow-member  in  turn  called  at- 
tention to  another  entrant  who  had  done 
work  worthy  of  commendation.  All 
through  it  seemed  to  be  a  case  of  dig 
deep  for  the  best. 

Most  of  the  pictures  were  shown  two 
and  three  times  and  quite  a  number  of 
them  four  times.  Although  the  pre- 
liminary committee  had  its  own  opin- 
ions on  the  general  order  of  merit  in 
the  winners  the  entrance  of  the  final 
committee  upset  one  or  two  applecarts 
when  the  members  brought  to  bear  on 
the  problems  of  the  committee  an  en- 
tirely fresh  viewpoint,  unhandicapped 
by  having  lived  with  the  prominent  com- 
petitors' product  for  more  than  a  couple 
of  weeks. 

The  members  of  the  final  committee 
truly  may  be  described  as  an  interna- 
tional jury.  No  matter  what  part  of  the 
world  was  being  pictured  on  the  screen 
it  seemed  at  least  one  of  them  had 
been  in  the  neighborhood  and  was  fa- 
miliar with  the  locale. 

John  W.  Boyle,  past  president  of  the 
A.S.C.,  has  just  returned  to  Hollywood 
after  several  years  in  England  and  on 
the  Continent.  Like  nearly  all  the  other 
members  of  the  final  committee  he  is 
a  shark  on  color  and  has  used  it  in 
some  of  the  spots  that  were  reproduced 
on  the  screen  by  winners.  Particularly 
was  this  true  of  Northern  Europe. 
Broad  Visioned  Travelers 

Richard  Fryer  is  a  native  of  England, 
and  like  the  man  who  is  born  under  the 
Union  Jack  sees  the  world  through 
broad  glasses.  Al  Gilks  a  few  years 
ago  was  selected  by  the  master  of  the 
yacht  Alva,  William  K.  Vanderbilt,  as 
head  of  the  camera  unit  to  accompany 
him  on  his  yacht  and  to  record  on  film 
the  principal  events  scientific  and  other- 
wise encountered  in  the  circling  of  the 
globe.  During  the  past  year  the  same 
cameraman  went  to  England  to  photo- 
graph Edward  G.  Robinson  in  "Thunder 
in  the  City,"  a  subject  which  was  re- 
leased in  this  country  by  Columbia. 

Robert  G.  Martin  for  years  photo- 
graphed  motion    pictures   for  English 


January,  1938     •     American  Cinematographer  27 


producers,  and  in  the  course  of  that  em- 
ployment traveled  the  Continental  and 
Northern  African  routes.  Harry  Perry 
only  this  last  year  toured  Europe  for 
Paramount,  visiting  all  the  principal 
countries. 

So  it  will  be  understood  when  a  pic- 
ture was  thrown  on  the  screen  it  was 
being  judged  for  the  screened  result  re- 
gardless of  its  maker  or  the  source  from 
which  it  came.  The  committee  was  un- 
concerned with  which  had  won  what  in 
preceding  contests,  how  many  times  a 
contestant  had  won  before,  or  how  soon 
what  nation  might  be  on  the  outs  with 
which. 

It  was  the  viewpoint  of  the  sportsman 
judging  the  product  of  contestants  in 
efforts  to  bring  forth  an  artistic  piece 
of  work. 

Quick  Answer 

One  young  woman  contender  who  has 
been  making  motion  pictures  for  but  a 
year  and  was  entering  her  first  contest 
suggested  in  her  entry  blank  she  would 
like  to  see  an  article  by  the  winner  of 
the  contest  as  to  the  methods  employed 
to  secure  his  results.  Her  prayer  was 
answered  almost  in  advance  of  its  utter- 
ance. 

In  the  December  issue  on  Page  515 
is  an  article  by  James  A.  Sherlock, 
S.A.G.,  under  the  caption  of  "Shooting 
Waterfront  as  Sherlock  Does  It."  It  was 
sent  through  for  printing  before  the  edi- 
tor had  seen  the  picture  that  had  been 
submitted  by  the  writer  of  the  story. 

Amateurs  will  find  an  interesting  and 
also  most  helpful  tale  of  how  best  to 
get  desired  results  around  and  about  a 
waterfront. 

"Mount  Zao,"  prizewinner  for  pho- 
tography, was  entered  in  black  and 
white  by  Khoji  Tsukamoto  of  Tokyo. 
The  latter  is  one  of  the  three  members 
of  the  directorate  of  the  Sakura  Kogata 
Eiga  Kyokai  of  Tokyo,  or  in  English  the 
Cherry  Amateur  Movie  Society.  In  an- 
other column  will  be  found  the  report 
of  the  annual  competition  of  this  organ- 
ization, the  honorary  president  of  which 
is  Marquis  Yamashina. 

"Mount  Zao"  is  an  outdoor  subject, 
taken  on  the  crests  of  the  snow-packed 
mountain  of  that  name.  The  major  shots 
were  of  small  groups  on  skiis  swirling 
and  dashing  in  single  file  as  a  rule  in 
clouds  of  snow  along  ridges  backlighted 
by  Old  Sol.  It  is  effectively  done,  and 
on  its  first  showing  was  marked  for  con- 
sideration as  the  winner  of  the  photo- 
graphic division. 

Lawrenson  Repeats 

The  prizewinner  for  color,  "This  Side 
of  Paradise,"  was  in  Kodachrome  and 
entered  by  A.  Scott  Moorhouse  of  Toron- 
to, a  member  of  the  Toronto  Amateur 
Movie  Club.  The  locale  of  the  subject 
was  the  Italian  and  Swiss  mountains  and 
lakes.  The  decision  on  color  or  rather 
the  reaching  of  it  constituted  one  of  the 
committee's  chief  headaches.  There  were 
some  remarkable  examples  submitted. 
Mr.  Moorhouse  has  a  right  to  feel  proud 
of  his  product. 

"Another  Happy  Day"  was  the  win- 
ner in  the  home  movie  classification,  the 


prize  going  to  T.  Lawrenson  of  Dundee, 
Scotland.  Mr.  Lawrenson  is  a  member 
of  the  Institute  of  Amateur  Cinematog- 
raphers  of  London.  Also  is  he  a  veteran 
of  the  American  Cinematographer's  con- 
tests, having  been  one  of  the  three  major 
prize  winners  of  1935.  Also  is  the  chief 
actor  in  the  home  movie  a  veteran,  a 
child  who  now  has  reached  seemingly  the 
mature  age  of  four  years,  and  who  of 
course  was  but  two  when  he  made  his 
debut  on  the  home  movie  stage  in 
"Happy  Day."  He  is  a  black-eyed,  cam- 


era-unconscious and  personable  young- 
ster, who  proceeas  on  his  lawful  occa- 
sions in  complete  indifference  to  a  live 
lens. 

"Japan  and  Its  People,"  Dr.  Roy  Ger- 
stenkorn's  educational  class  winner,  was 
a  pictured  visit  to  the  homes  and  tem- 
ples of  Japan.  Ignoring  the  cities  in  his 
search  for  the  story  of  the  Japan  that 
is  not  known  to  the  average  visitor  the 
doctor  penetrated  the  towns  and  smaller 
communities.  His  picture  was  awarded 
a  high  rating  on  its  photography  as  well 


THE  WINNERS 


S200— To  the  Ships  of  Syd- 
ney." Grand  Prize 

§50  —  Photography,  "Mount 
Zao" 

$50— Color,    "This    Side  of 
Paradise" 

850 — Home  Movie,  "Another 
Happy  Day" 

$50 — Educational,  "Japan 
and  Its  People" 

§50 — Scenario,   "Prize  Win- 
ner" 

S50 — Scenic,  "Europa  Tour- 
ing" 


EQUIPMENT 

Victor  Anlmatograph  Cor- 
poration projects  for  the 
most  interesting  lighting 
effect,  "Little  Sherlock" 

Agfa  Ansco  Corporation,  six 
100-foot  rolls  of  Agfa 
16mm.  Hypan  reversible 
film,  "Solar  Pelexus." 

Agfa  Ansco  Corporation  six 
100-foot  rolls  of  Agfa 
16mm  Fine-Grain  Plena- 
chrome  reversible  film. 
"Japan  and  Its  People." 

Bell  &  Howell,  "To  the  Ships 
of  Sydney" 

Mitchell  Camera  Corpora- 
tion, special  award  for 
Photographic  Composition, 
"El  Camino  Real" 


Harrison  &  Harrison, 
den  Life" 


'Gar- 


West  o  n  Electrical  Instru- 
ment Corporation,  "Scenic 
Wonders  of  the  South- 
west." 


Entered  by  James  A.  Sherlock,  Sydney,  Aus- 
tralia. 16mm.  color.  Used  Bell  &  Howell  Flmo 
camera,  Kodak  film,  Weston  Meter. 

Entered  by  Khoji  Tsukamoto,  Toyko,  Japan. 
16mm.  black  and  white.  Used  Bell  &  Howell 
Series  70  camera,  Eastman  film. 

Entered  by  A.  Scott  Moorhouse,  Toronto,  Can- 
ada. 16mm.  color.  Cine  Kodak  Special  Camera, 
Kodachrome. 

Entered  by  T.  Lawrenson,  Dundee,  Scotland. 
16mm.  black  and  white.  Ensign  Kinecam  Cam- 
era, Agfa  Isopan  supersensitive. 

Entered  by  Dr.  Roy  E.  Gerstenkorn,  Los  An- 
geles. 16mm.  black  and  white,  Eastman  cam- 
era, Agfa  Pan  and  Superpan. 

Entered  by  J.  Kinney  Moore,  Los  Angeles. 
16mm.  black  and  white.  Cine  Kodak  Special 
camera,  Eastman  S.S.  Pan. 

Entered  by  Ellis  M.  Yarnell  and  C.  Y.  Kimball, 
Redondo  Beach,  Calif.  16mm.  color.  Cine  Ko- 
dak Special  and  Cine  Kodak  K  cameras,  Ko- 
dachrome. 

Entered  by  Charles  J.  Carbonaro,  New  York. 
16mm.  black  and  white.  Cine  Kodak  Special 
camera,  Eastman  S.S.  Panchromatic. 

Entered  by  Mel  Weslender  and  Harry  French, 
San  Francisco.  16mm.  black  and  white,  Stew- 
art Warner  f.3.5  Hollywood  model  camera, 
Agfa  plenachrome  and  superpan. 

Entered  by  Dr.  Roy  E.  Gerstenkorn,  Los  An- 
geles. 16mm.  black  and  white,  Eastman  cam- 
era, Agfa  Pan  and  Superpan. 


Entered  by  James  A.  Sherlock,  Sydney,  Aus- 
tralia. 16mm.,  color,  Filmo  70  DA.  camera, 
Kodak  film,  Weston  Meter. 

Entered  by  John  E.  Walter,  Los  Angeles,  Cal. 
8mm.,  color,  Eastman  8mm.  No.  20  f:3.5  cam- 
era, Eastman  Kodachrome. 

Entered  by  Eugene  L.  Ritzmann,  Berkeley, 
Cal.  16mm.,  color,  Model  A  and  Model  K  East- 
man cameras.  Eastman  Daylight  Koda- 
chrome and  Type  A  Kodachrome. 

Entered  by  R.  C.  Denny,  Fresno,  Cal.  16mm., 
color,  Stewart  Warner  Deluxe  camera,  Koda- 
chrome. 


28     American  Cinematographer     •     January,  1938 


as  on  his  treatment  of  the  subject. 
After  the  showing  of  this  picture  be- 
fore the  Los  Angeles  Motion  Picture 
Forum  last  summer  the  local  school  au- 
thorities requested  and  received  permis- 
sion from  the  doctor  to  make  a  dupli- 
cate of  it  for  school  purposes. 

Strange  subject  title  indeed  was 
"Prize  Winner,"  the  entry  of  J.  Kinney 
Moore,  S.A.C.,  of  Los  Angeles,  in  the 
scenario  class.  Choosing  of  that  caption 
for  a  film  designed  for  inspection  by  a 
jury  surely  must  have  been  the  work 
of  a  brave  man,  one  who  himself  must 
have  been  satisfied  that  when  it  came 
to  making  a  picture  he  "knew  his  on- 
ions," who  deliberately  disregarded  what 
he  knew  must  have  been  a  provocative 
and  an  antagonistic  challenge  to  any 
jury  called  upon  to  assay  its  competitive 
merits  with  the  product  of  the  wide 
world. 


The  "prize  winner"  of  the  title  of 
course  was  just  a  goat  who  had  pulled 
down  for  its  owner  a  ten-dollar  bill  as 
a  prize  at  the  county  fair,  a  sum  which 
its  owner  promptly  had  sunk  in  the  near- 
est bucolic  palace  of  chance. 

The  committee  disregarded  any  pos- 
sessive tendencies  of  its  own  in  the  goat 
line  and  decided  the  entrant  really  did 
know  his  onions  when  it  came  to  mak- 
ing pictures.  But  of  course  every  one 
even  on  the  fringe  of  the  amateur  world 
knows  J.  Kinney  Moore  is  one  of  the 
tops  among  the  amateurs. 

"Europa  Touring,"  winner  in  the 
scenic  class,  was  a  "honey"  in  any  man's 
language.  It  was  the  film  handiwork  of 
Ellis  M.  Yarnell  and  C.  Y.  Kimball  of 
Redondo  Beach,  Cal.;  and  was  the 
story  of  a  tour  of  Northern  Europe, 
where  the  summer  grass,  as  in  north- 
ern  countries,  really  is  green  —  which 


In  Warner  Brothera'  "Jezebel,"  a  tale  of  the  South  in  1850,  Bette  Davis  in  the  garb 
of  that  day  faces  the  -prod iiction  crew  for  a  still  picture.  In  the  center  of  the  picture, 
vnth  his  left  hand  on  the  ladder  and  facing  the  player,  is  Ernie  Haller,  director  of 
photography.  Sitting  just  above  him,  with  roled  sleeves,  is  Director  William  Wyler. 
Immediately  behind  the  director  is  Operative  Cameraman  Al  Roberts  and  at  his 
left  Bud  Weiler,  assistant.  Mack  Elliott  pohtographed  the  still. 


last  remark  of  course  tells  you  the 
subject  was  in  color.  The  two  men  have 
been  making  amateur  motion  pictures 
for  seven  years.  Yarnell  is  a  member 
of  the  Delta  Kappa  Alpha,  Cinema  Fra- 
ternity, U.S.C.,  and  Kimball  of  the  Ama- 
teur Cinema  League. 

Charles  J.  Carbonaro,  member  of  the 
Metropolitan  Motion  Picture  Club  of 
New  York,  who  has  been  making  ama- 
teur films  for  nine  years,  was  the  win- 
ner of  Victor  Animatograph's  Model  11 
Master  Silent  Projector  with  carrying 
case.  The  conditions  were  the  award 
was  to  be  based  on  the  most  unusual  and 
interesting  lighting  effect  on  16mm.  film 
regardless  of  subject  or  length. 

The  title  was  the  all-interior  "Little 
Sherlock,"  and  was  the  story  of  a  little 
girl  much  interested  in  the  movies,  mis- 
chievous a  little  bit  perhaps  but  exceed- 
ingly concerned  in  following  the  move- 
ments of  her  movie-making  father  and 
taking  advantage  of  stray  opportunities 
unobserved  to  take  a  few  shots  with  the 
mounted  camera  on  her  own.  Thus  un- 
wittingly did  she  prove  to  be  a  detective. 

Mel  Weslander  and  Harry  French  of 
San  Francisco,  with  "Solar  Pelexus," 
were  winners  of  Agfa's  contribution  of 
six  rolls  of  film.  As  the  misspelling  of 
the  title  indicates,  the  subject  was  a 
farce  portraying  the  journey  of  two  men 
to  another  planet  in  a  rocket. 

Walter  Takes  Lens 

For  his  excellent  composition  in  the 
650-foot  8mm.  Kodachrome  subject  of 
"El  Camino  Real"  John  E.  Walter,  re- 
tiring vice  president  of  the  Los  Angeles 
8mm.  Club,  was  awarded  the  f  :1.8  20mm. 
Astro  lens  contributed  by  Mitchell  Cam- 
era Corporation.  The  subject  is  a  most 
interesting  pictorial  tour  of  the  Pacific 
Coast  missions,  with  intimate  shots 
around  each. 

Harrison  and  Harrison's  offer  of  the 
firm's  color  meter  in  leather  case,  with 
six  1^/4 -inch  meter-matched  filters  in 
leather  filter  fold,  was  awarded  Eugene 
L.  Ritzmann  of  Berkeley,  Cal.,  for  his 
"Garden  Life."  The  entrant  has  been 
making  amateur  movies  for  nine  years, 
and  his  skilled  work  in  putting  on  the 
screen  in  color  by  means  of  controlled 
timing  the  blooming  of  flowers  demon- 
strated that  his  period  of  apprenticeship 
has  long  since  expired. 

If  a  word  of  suggestion  and  distinctly 
not  of  criticism  might  be  offered  it 
would  be  the  film  would  have  greater 
value  for  the  uninformed  if  titles  should 
be  inserted  identifying  the  various  flow- 
ers. The  subject  caused  some  tough  eggs 
of  the  male  persuasion  to  sit  up  and 
take  notice.  What  it  will  do  to  the 
world  of  womankind  it  is  not  hard  to 
imagine. 

It  may  be  of  interest  to  state  the 
equipment  Ritzmann  used  other  than 
that  set  forth  in  the  box  accompanying 
was  a  blue  artificial  light  filter  with 
both  of  the  films  named  and  auxiliary 
lenses  were  employed  in  super  close-ups. 

R.  C.  Denny,  S.A.C,  was  awarded  the 
Weston  Cine  Exposure  Meter  Model  819, 
contributed  by  its  manufacturers,  for 
"Scenic  Wonders  of  the  Southwest,"  an 
800-foot  subject  in  color. 


January,  1938     •     American  Cinematographer  29 


B,  dc  H.  HAS  NOVEL 
8mm  FILM  VIEWER 


J.  Kenfield  Morley,  appointed  by  the 
directors  of  the  Advitagraph  Corpora- 
tion as  vice  president  and  general  man- 
ager for  a  contracted  five-year  pe7-iod. 
The  company  is  a  Chicago  concern,  with 
offices  in  Rochester  and  Louisville.  It 
produces  motion  picture  advertising  and 
manufactures  Flo-Lite  continuous  pro- 
jectors. 

Inquiring  Reader  Sends 

Thanks  for  Technical  Aid 

NOT  all  of  the  technical  inquiries  re- 
ceived by  The  American  Cinema- 
tographer are  answered  in  these  col- 
umns. Many  require  special  personal  re- 
plies too  long,  or  too  intimately  related 
to  the  individual's  specific  problems  to 
permit  their  being  printed  here. 

Other  questions  may  be  referred  di- 
rectly to  honorary  and  associate  mem- 
bers of  the  A.S.C.,  maybe  leaders  in 
some  special  phase  or  phases  of  cin- 
ema technology. 

Recently  one  of  our  readers  reported 
difficulties  in  splicing  leader  strips  to 
16mm.  negative  film.  The  question  was 
referred  to  Dr.  V.  B.  Sease,  A.S.C.,  head 
of  the  DuPont  Film  Company's  research 
laboratories.  Dr.  Sease  took  time  from 
his  duties  as  head  of  one  of  the  world's 
greatest  research  plants  to  help  our 
reader  with  his  splicing  problem.  The 
other  day  we  received  this  letter  from 
the  reader  in  question: 

"Thanks  to  your  efforts  to  answer 
my  query  regarding  difficulty  in  splic- 
ing 16mm.  negative  film,  I  have  received 
a  2  oz.  bottle  of  film  cement  from  Dr. 
V.  B.  Sease,  A.S.C.,  of  DuPont  Film. 

"This  cement  has  solved  all  my  diffi- 
culties in  this  matter.  Several  of  my 
moviemaking  friends  who  also  have  had 
the  same  trouble  have  been  helped  by 
this  cement. 

"I  wish  to  take  this  opportunity  to 
thank  you  very  much  for  all  the  trouble 
you  have  gone  to,  and  through  you  to 
Dr.  Sease  and  to  wish  you  personally 
and  the  A.S.C.  continued  success." 


CENTRALLY  located  on  a  stream- 
lined metal  base  is  a  splicer  simi- 
lar to  the  Bell  and  Howell  "136," 
a  rapid-fire  splicing  unit  which  requires 
film  placement  on  the  pilot  pins  only 
once,  and  which  shears  the  film  ends  and 
brings  the  bonding  surfaces  together  in 
one  operation.  The  dry  scraper  and  film 
cement  bottle  are  conveniently  recessed 
in  the  base  on  the  right  side  of  the 
splicer. 

At  each  end  of  the  base  is  a  stream- 
lined rewinder  which  takes  all  8mm. 
reels,  including  camera  spools,  return 
spools,  and  200-foot  projection  leels. 
These  rewinders  are  geared  21/2  to  1, 
which  means  that  a  single  turn  of  the 
crank  rotates  a  reel  two  and  a  half  times. 

The  8mm.  owner  may  start  his  equip- 
ment with  this  rewinder  and  splicer  and 
later  complete  the  outfit  by  adding  to  it 
himself  the  8mm.  film  viewer. 

8mm.  Editor 

The  complete  editor  consists  of  the  re- 
winder and  splicer  just  described,  plus  a 
special  8mm.  film  viewer  exceedingly 
clever  in  its  design. 

This  viewer  is  so  simple  and  compact 
that  one  wonders  why  no  one  thought  of 
it  before.  Actually,  it  took  Bell  &  Howell 
more  than  two  years  to  design  the  editor, 
for  simple  things  are  the  hardest  to 
do  well. 

The  viewer  might  be  described  as  an 
inverted,  modified  cone,  hinged  at  the 


small  end  and  terminating  at  the  large 
end  in  a  ground  glass  viewing  screen  IV2 
inches  wide  upon  which  a  brilliant  up- 
right image  of  a  single  frame  is  pro- 
duced. This  viewing  screen  is  well 
shielded  by  a  "sunshade,"  permitting  a 
desk  lamp  or  room  lights  to  be  used  with- 
out interference. 

The  view  cone  swings  backward  from 
its  base,  out  of  the  way  entirely  when 
the  film  is  wound  from  one  reel  to  an- 
other, and  permitting  easy  placement  of 
the  film  in  its  channel  when  the  viewer 
is  to  be  used. 

The  lamp  is  entirely  inclosed,  except 
for  the  small  opening  through  which  its 
rays  pass  to  the  optical  units  in  the 
viewing  cone,  and  there  isn't  a  chance  for 
glare  in  the  eyes  of  the  operator.  With 
a  convenient  switch  on  the  cord,  the  lamp 
may  be  turned  off  while  the  operator  is 
splicing. 

All  surfaces  with  which  the  film  comes 
in  contact  are  recessed  to  eliminate  any 
possibility  of  abrasion,  and  the  entire 
editor  is  designed  to  offer  the  utmost  in 
film  protection,  efficient,  lasting  splices, 
and  ease  of  operation. 

The  film  viewer  can  be  purchased  sep- 
arately, for  use  with  the  rewinder  and 
splicer,  and  it  is  also  available  with  a 
viewer  elevating  bracket  and  a  rewinder 
elevator  block  for  use  on  previously  pur- 
chased Model  136  and  wood-base  splicer 
and  rewind  combinations. 


The  new  Bell  and  Howell  film  editor 


30     American  Cinematographer     •     January,  1938 


Amateur  Cinematographers  Seek 
to  Make  Better  Motion  Pictures 

That's  the  Answer  to  Question  as  to  What  They 
Are  Striving  for — Screen's  Dominant  Place 
in  World  Has  Awakened  Universal 
Consciousness  of  Film  Quality 


WHAT  are  amateur  cinematogra- 
phei's  striving  for?  The  obvious 
answer  is  "to  make  better  and 
more  interesting  motion  pictures." 

The  dominant  place  of  motion  pictures 
in  the  entertainment,  advertising,  and, 
in  fact,  ahnost  every  field  of  human 
activity,  has  awakened  a  universal  con- 
sciousness of  photographic  quality  even 
in  the  most  casual. 

The  butcher  and  the  baker  today  know 
a  good  picture  from  a  bad.  This  places 
the  amateur  on  the  spot.  Even  in  his 
darkened  living  room,  while  his  neigh- 
bors view  his  film  of  a  vacation  in 
Yosemite,  he  is  uneasily  aware  that  his 
pictures  are  being  judged  by  the  stand- 
ards of  the  professional  theater. 

And  yet  the  real  amateur  is  his  own 
severest  critic.  He  devotes  himself  to 
the  perfection  of  his  hobby  from  the 
sheer  love  of  making  good  pictures. 
With  such  motives  free  from  commer- 
cial dictates  and  restraints,  it  is  only 
natural  that  in  originality  and  artistic 
quality  amateurs  frequently  produce 
pictures  ranking  with  the  best. 

Skids  Into  Hobby 

Let  us  examine  what  we  amateurs  are 
trying  to  do  and  how  we  are  trying  to 
do  it.  The  average  movie  addict  becomes 
so  innocently  and  by  accident.  On  a 
banana  peel  of  overwhelming  desire 
to  perpetuate  and  share  with  others 
scenes  and  events  which  moved  him 
deeply  he  skids  into  his  hobby. 

Or  it  may  have  been  the  new  baby 
whose  unique  charm  each  proud  parent 
feels  impelled  to  preserve  for  posterity. 
A  litter  of  pups,  or  a  trip  around  the 
world  have  been  the  starting  excuse. 

The  hobby  demon,  like  proverbial  vice, 
lurks  in  many  unsuspected  forms.  Some 
are  lured  to  a  camera  by  an  irresistible 
desire  to  make  beautiful  pictures  with- 
out the  usual  practical  motives.  These 
are  the  real  artists  akin  to  the  musician, 
the  poet,  and  the  painter. 

I  said  we  are  launched  into  this  fas- 
cinating hobby  "innocently."  By  that  I 
mean  frequently  the  amateur  is  un- 
aware of  the  difficulties  that  beset  the 
path  he  has  chosen.  He  harbors  the 
sweet  delusion  that  fine  pictures  exist 
miraculously  in  his  shiny  new  camera. 

All  that  seems  necessary  for  success 
is  to  point  the  lens  at  what  he  sees 
and  let  it  run.  Disillusionment  is  usu- 
ally quick  and  painful,  though  often  the 


By  A.  L.  GRAM 

President 
Los  Angeles  Cinema  Club 


beguiling  spirit  that  leads  us  on  has  a 
sweet  smile  for  our  first  endeavors. 

With  the  awakening  of  consciousness 
as  to  his  limitations,  the  amateur  then 
naturally  turns  to  the  extensive  litera- 
ture of  motion  picture  photography.  In 
the  excellent  monthly  magazines  pub- 
lished for  his  especial  benefit  he  seeks 
the  answers  to  the  mysteries  of  the  art. 
What   Is   Amateur's  Aim? 

Those  determined  souls  who  survive 
the  early  failures  and  have  the  forti- 
tude to  continue  end  up  in  the  amateur 
cinema  club.  There  they  seek  to  profit 
by  the  experience  of  kindred  hobbyists 
mutually  seeking  solace  and  aid  in  pen- 
etrating the  mysteries  of  the  motion 
picture  art  and  science. 

What  is  the  amateur's  first  desire?  It 
is  to  make  a  good  picture  under  any 
reasonable  condition  he  may  encounter: 
on  bright  days  and  dull  days,  in  light 


A.  L.  Gram,  new  president  of  the  Los 
Angeles  Cii%ema  Club 


and  in  shadow,  by  the  sea,  and  in  the 
mountains,  indoors  and  out. 

This  means  primarily  the  discovering 
of  that  particular  lens  aperture  which 
will  produce  the  best  possible  results 
under  a  given  set  of  conditions.  The 
amateur  generally  wants  a  picture  that 
is  bright  with  nicely  graded  contrasts  of 
light  and  shadow,  with  ample  detail  and 
with  that  elusive  recording  of  near  and 
distant  objects  so  essential  to  the  illu- 
sion of  space.  That,  in  general,  is  our 
primary  desire. 

Not  always,  however,  does  the  amateur 
seek  for  the  greatest  brightness  and 
clarity.  Often  he  is  more  concerned 
with  producing  a  particular  effect  or 
impressionism  which  he  believes  can 
best  be  accomplished  by  the  elimination 
of  detail.  Ships  against  the  sky,  or  a 
sunset  through  the  clouds  are  favorite 
illustrations.  Producing  the  illusion  of 
moonlight  on  the  beach  is  another. 

But  whether  we  are  striving  for  bril- 
liance and  clarity  of  detail  or  the  ren- 
dering of  a  pictorial  mood,  our  problem 
lies  in  the  proper  manipulation  of  the 
camera  and  its  accessories. 

New  Fields  in  Color 

With  the  recent  advances  in  the  use 
of  color,  the  amateur's  interests  have 
been  extended  to  new  fields.  Color,  in 
some  respects,  has  simplified  his  techni- 
cal problems,  and  in  others  added  new 
complexities.  With  black  and  white  film, 
good  results  frequently  depend  upon  the 
skillful  adaptation  and  use  of  the  many 
filters. 

Balancing  of  color  intensities  is  natu- 
rally much  simplified  by  a  film  which 
records  the  actual  colors  rather  than 
their  light  reflecting  capacities.  The 
problem  of  interpreting  colors  and  shades 
into  tones  of  black  and  white  has  always 
haunted  the  conscientious  amateur. 

It  is  only  with  experience  many  dis- 
cover that  the  picture  which  seemed  at 
first  to  be  a  clear  and  faithful  reproduc- 
tion in  light  and  shadow  of  a  colorful 
scene  of  meadow  and  stream  had  com- 
pletely distorted  the  relative  light  values 
of  nature. 

With  these  considerations  in  mind, 
most  amateurs  will  agree  that  our  first 
problem  is  the  mastery  of  our  equip- 
ment. A  camera  is  a  wild,  unbroken 
device  until  tamed  to  do  its  master's 
vdll.  As  Count  von  Schoenfeldt  advised 
the  members  of  the  Los  Angeles  Cinema 
Club,  we  must  become  so  expert  in  the 


January,  1938      •     American  Cinematographer  31 


manipulation  of  our  cameras  that  ad- 
justments are  made  automatically  and 
subconsciously,  leaving  the  eyes  and 
mind  free  to  deal  with  the  subject.  So 
much  for  photographic  mechanics. 
Appeal  to  Artistic  Sense 

This  leads  us  to  the  next  factor  of 
concern  to  the  amateur.  He  wants  not 
only  to  produce  a  clear  and  true  picture 
of  a  mountain  stream,  a  rock  in  the  surf, 
or  a  smiling  baby,  but  also  one  that 
gives  pleasure  in  the  artistic  sense  with 
which  we  regard  the  landscape  painting 
or  a  fine  etching. 

By  trial  and  study  he  searches  for 
the  underlying  principles  upon  which 
these  qualities  depend.  Among  the 
things  he  discovers  are  that  the  central 
theme  of  his  picture  must  stand  out, 
yet  remain  unobtrusive;  the  objects 
within  the  scene  must  be  grouped  into 
configurations  and  outlines  reducible  to 
simple  geometric  forms;  that  the  masses 
of  color  or  light  and  shade  must  be  so 
disposed  as  to  give  the  picture  an  in- 
nate sense  of  balance;  that  the  succes- 
sive planes  of  the  picture  must  be  har- 
moniously related  to  one  another  and  to 
the  picture  as  a  whole. 

The  artistic  quality  of  a  picture  is 
highly  intangible  and  depends  greatly 
upon  the  intuition  of  the  photographer 
and,  of  coui'se,  on  his  training.  The 
cinema  club  affords  opportunities  for 
comparison  and  discussion  of  each  mem- 
ber's results  with  his  associates  and  can 
contribute  very  much  to  improving  the 
composition  of  the  amateur. 

The  third  element  which  the  experi- 
enced amateur  and  thoroughly  inoculated 
hobbyist  seeks  to  achieve  is  continuity. 
This  is  also  an  artistic  element  and  in- 
vades the  field  of  the  writer  and  story 
teller.  It  is  probably  the  predominant 
factor  in  professional  films,  but  gen- 
erally of  subordinate  interest  to  the 
amateur. 

Would  Hold  Interest 

Nevertheless,  the  amateur,  regardless 
of  his  subiect  matter,  whether  it  be  a 
trip  to  England  or  a  baby  on  a  hot  day 
with  a  garden  hose,  seeks  to  apply  those 
psychologic  principles  which  will  arouse 
and  hold  the  interest  of  his  audience. 

In  doing  this  he  is  concerned  with 
which  scenes  are  to  be  selected  and  what 
is  to  be  cut  out,  with  the  length  of  the 
scenes,  and  with  the  order  in  which  they 
succeed  one  another.  By  ingenuity  and 
skill,  he  endeavors  to  introduce  his 
audience  to  the  time,  place,  location,  and 
circumstance  of  the  picture  and  cany  it 
along  to  a  natural  climax  and  conclusion 
without  ignoring  or  overstraining  the 
imagination. 

The  foregoing,  I  think,  is  a  fair  re- 
view of  what  the  amateur  is  striving 
for.  How  he  seeks  to  attain  these 
various  objectives  varies  greatly  with 
the  individual.  Here  is  the  crux  of  the 
problem  of  organizing  programs  for 
amateur  cinema  clubs. 

Each  of  us  draws  from  a  different 
fund  of  knowledge,  experience,  and  tem- 
perament. Some  feel  that  they  learn 
more  and  profit  most  by  hearing  discus- 
sions and  expositions  of  the  underlying 


scientific  and  artistic  principles  of  pic- 
turemaking.  They  feel  that  talks  on 
lenses,  emulsions,  cameras,  on  tripods 
and  light  meters  and  on  the  principles 
of  artistic  and  literary  composition  and 
psychology  give  them  the  best  results 
as  reflected  in  their  own  pictures. 

Others  are  sure  that  they  profit  most 
by  the  experimental  approach.  They 
like  to  see  films  taken  under  experi- 
mental conditions  where  some  factors 
are  held  constant  and  others  are  varied. 
Keen  for  Experiment 

A  common  illustration  is  the  frequent- 
ly expressed  desire  to  see  a  picture,  say, 
of  a  snow-capped  mountain  with  a  tree- 
bordered  stream  winding  into  the  fore- 
ground taken  from  a  constant  position 
with  the  exposure  varied  through  suc- 
cessive stops;  or,  under  the  same  cir- 
cumstances, to  see  the  effects  of  intro- 
ducing a  succession  of  filters. 

Then  again  many  feel  that  their  pic- 
turetaking  is  most  benefited  by  seeing 
a  variety  of  professional  and  amateur 
photography    and    hearing  competent 


B.  &  H.  Producing  Four 

Film-on-Sound  Projectors 

WITH  the  announcement  of  great 
improvements  throughout  the  en- 
tire line  of  Filmosounds,  Bell  &  Howell 
is  now  producing  four  standard  models 
of  these  16mm.  sound-on-film  projectors, 
one  Model  120,  two  Model  138s  and  one 
Model  130.  All  embody  new  features. 

The  new  750-watt  Filmosound  120-G 
for  the  busy  traveling  sales  representa- 
tive has  an  electric  rewind,  and  for  the 
teacher  who  wishes  to  emphasize  and  re- 
view there  is  a  still  picture  clutch  and 
a  reverse  gear.  The  clutch  and  reverse 
are  invaluable,  too,  to  those  who  wish 
to  edit  their  sound  film  with  the  helpful 
aid  of  the  Filmosound. 

Two  speeds,  sound  and  silent,  appeal 


analysis  and  criticism.  They  want  to  be 
told  what  to  do  and  what  not  to  do. 

These  approaches  to  the  problem  of 
learning  photography  are  not  mutually 
exclusive.  Some  cinema  club  members 
prefer  one  or  more  and  are  inclined  to 
be  bored  by  the  others.  Consequently, 
as  I  see  it,  the  logical  way  to  satisfy 
all  the  diversified  requirements  of  a  club 
membership  is  to  present  a  variety  of 
programs  throughout  the  club  year. 

A  series  of  programs  designed  exclu- 
sively on  one  principle  will  not  be  satis- 
factory to  all  and  will  meet  with  objec- 
tions from  those  who  feel  that  their 
photography  is  not  being  improved  or 
their  experience  enlarged.  Those  who 
desire  to  see  pictures  criticized  will  fre- 
quently avoid  technical  meetings,  and  so 
on. 

If  amateur  cinema  clubs  would  recog- 
nize these  principles  in  arranging  their 
programs,  it  is  believed  that  more  satis- 
fied and  enthusiastic  memberships  would 
result,  and  the  consequences  would  be 
reflected  in  the  quality  of  their  pictures. 


to  the  market  for  a  universal  machine, 
and  the  improved  amplifier  provides  18 
watts  of  undistorted  output  with  even 
greater  fidelity  than  before.  The  take- 
up  mechanism  is  cleverly  designed  to  re- 
quire no  changing  of  belts  to  run  reels 
of  various  sizes.  This  new  model  is  also 
available  with  a  special  amplifier  to 
operate  a  25  to  60  cycle  alternating 
current. 

The  newest  of  the  improved  Filmo- 
sounds is  the  130-D,  the  powerful  1000- 
watt  Auditorium  model.  A  completely 
redesigned  amplifier  is  the  outstanding 
new  feature  of  the  130 — an  amplifier 
smoothly  styled  in  the  modern  mode 
with  the  popular  sloping  control  panel, 
and  capable  of  an  unusually  high  out- 
put. 


The  new  Bell  &  Howell  Filmsound  138-J,  a  tzvo-case  model  which  provides  a 
sound-proof  inclosure  for  the  projector,  handles  both  sound  and  silent  film,  and 

offers  clutch  and  reverse. 


32     American  Cinematographer     •     January,  1938 


There  are  Thrills  Aplenty  for  He 
IVho  Dramatizes  the  Iron  Horse 


By  WILLIAM  STULL,  A.S.C. 


EVERYONE  has  thrilled  to  the 
sight  of  a  crack  express  train 
thundering  past,  smoke-plumed 
and  moving  with  the  rhythm  of  dynamic 
grace.  Those  of  us  who  have  lived  in 
small  towns  recall  the  daily  rite  when 
everyone  who  possibly  could  trooped 
to  the  station  to  watch  "Number  Six" 
go  by. 

All  of  us  remember  childhood  ambi- 
tions— frustrated,  perhaps,  but  still  se- 
cretly cherished — to  sit  at  the  throttle, 
controlling  the  bridled  power  of  some 
thundering  giant  of  the  rails. 

But — did  you  ever  think  of  the  rail- 
road as  a  source  of  picture  material  ? 

I  know  there  are  literally  tens  of 
thousands  addicted  to  the  hobby  of  rail- 
road photography  in  the  still  photog- 
rapher's sense;  but  I  am  speaking  of 
cine-picture  material.  This  business  of 
railroad  movie-making  offers  the  cine- 
man  scope  for  exercising  practically 
every  facet  of  his  cinematic  bent. 

Pictorial  landscape  filming?  Of 
course!  Color?  Certainly!  Documentary 
presentation  ?  There's  no  wider  realm 
of  little  known  facts  that  move!  Hu- 
man-interest scenes?  What  else  are  the 
thousands  who  ride  and  run  our  trains? 
In  truth,  railroad  filming  offers  the  dis- 
cerning filmer  what  might  be  termed 
an  embarrassment  of  riches. 

In    this,    I    speak    from  experience. 


Egged  on  by  such  fellow-members  of 
the  A.S.C.  as  Ned  Van  Buren  and  Ray 
Fernstrom,  I  yielded  some  time  ago  to 
the  photographic  enticements  of  rail- 
road filming,  and  as  this  is  written,  I 
am  devoting  my  spare  time  to  complet- 
ing a  railroad  film  in  8mm.  color  for 
my  friend  Eric  Sparks,  of  England. 

In  the  hope  of  helping  others  similarly 
interested,  and  mayhap  of  suggesting  a 
new  cinematic  fisld  to  yet  other  cinemen, 
here  are  some  of  the  things  I've  learned 
while  making  my  films  of  the  Iron 
Horse. 

Must  Have  Story 

First  of  all,  your  film  must  have  a 
definite  story  to  tell.  Of  course,  if  you 
are  a  dyed-in-the-wool  rail  fan,  you'll 
get  a  measurable  thrill  from  iust  see- 
ing Pennsy  K-4s  or  Espee  Mallets  mov- 
ing across  your  home  screen:  but  your 
friends  will  like  the  picture  a  lot  better 
if  it  has  something  definite  to  say. 

For  my  own  film,  I  chose  the  evolu- 
tion of  California's  railroads  from  the 
early-day  equipments  up  to  today's  glis- 
tening streamliners.  There  are  count- 
less other  stories  that  can  be  put  in- 
terestingly on  film  in  every  locality. 
Look  around  and  take  your  pick! 

Once  you've  chosen  your  story,  prob- 
ably the  next  question  is  the  eternal 
one  of  black-and-white  vs.  color.  I  chose 
color.    For  most  rail  pictures,  it  is  best, 


Here  is  the  latest  in  streamlined  locomotives,  shown  in  action  at  the  head  of  the 
Daylight  Limited,  running  between  Los  Angeles  and  San  Francisco.  As  the  color 
scheme  of  the  entire  train  is  in  orange  and  red  it  is  "easy  meat"  for  the  Koda- 
chromist  when  he  (or  she)  a-hunting  goes.  Photographed  by  Ned  Van  Buren,  A.S.C. 


though  there  are  some  things,  such  as 
films  shot  in  murky  roundhouies  and 
engine  .shops,  which  demand  the  added 
speed  of  black-and-white. 

You  mipht  not  think  co'or  wou'd 
enhance  scenes  of  our  sooty  black  loco- 
motives and  drab  "riullr'"n  "-•'^0-"  rnr-; 
but  the  fact  remains  that  it  does.  In 
fact,  some  of  my  color  scenes  showing 
dusty  transcontinental  trains  coming  in 
from  the  desert  present  a  mu?h  more 
attractive  picture  than  monochrome 
could  possibly  hope  to  do. 

And  of  course  our  modern  stream- 
liners and    specially    decorated  steam 
trains  simply  scream  for  Kodachrome. 
Railroads  Cooperative 

The  next  question  is  how  to  get  your 
scenes.  In  some  parts  of  this  country, 
as  is  the  case  in  Europe,  you  may  pos- 
sibly find  it  necessary  to  arm  yourself 
with  a  photographing  permit  from  the 
company.  In  my  own  case  I  did  not 
find  it  so,  and  I  believe  that  in  most 
cases,  as  long  as  a  filmer  behaves  him- 
self and  does  not  attempt  foolish  or 
risky  things,  he  will  find  the  rail  per- 
sonnel most  cooperative. 

The  American  railroads  are  begin- 
ning to  appreciate  the  rail  fan  and  to 
cultivate  his  good-will.  The  almost  in- 
variable reaction  as  I  whipped  out  my 
Filmo  for  a  shot  was  that  everyone, 
from  engineers  to  switch  tenders,  tried 
to  help  me  make  my  shot  perfect;  most 
of  them  asked  me  advice  about  getting 
still  or  movie  outfits  for  themselves 
or  their  families,  and  many  volunteered 
suggestions  of  action  or  locations  that 
would  make  good  scenes. 

Whether  you  are  shooting  color  or 
monochrome,  a  fairly  flat  lighting,  with 
a  good  strong  sun,  is  the  best.  If  the 
sun  can  be  relatively  low  in  the  sky, 
so  much  the  better;  the  drivers  and  side- 
rods  of  locomotives  are  very  important 
to  our  picture,  and  the  boilers  on  mod- 
ern "hogs"  have  growTi  so  big  that  when 
the  sun  is  high,  they  are  likely  to  throw 
the  running  gear  into  unpleasantly 
heavy  shadow. 

The  best  antidote  naturally  is  a  low 
sun  that  throws  direct  light  underneath 
the  big  boilers. 

Showery  Days  Not  Taboo 

In  black-and-white,  cloudy  days  are 
often  excellent  for  close  shots  of  en- 
gines, but  personally  I  do  not  care  to 
make  color  scenes  on  such  days,  for  the 
color  film  often  gives  a  slight  reddish 
hue  to  the  actually  black  engines  and 
makes  them  look  brownish  and  rusty. 

On  the  other  hand,  some  of  my  best 


January,  1938 


American  Cinematographer  33 


color-shots  have  been  made  on  showery 
days,  with  broken  clouds.  Bu-t  clear, 
crisply  blue-white-lit  mornings  are  best 
for  Kodachroming  locomotives. 

The  railroad  cinematographer  cannot, 
of  course,  dictate  what  his  lightings  are 
to  be,  for  timetables  are  seldom  planned 
for  photographers.  If  a  train  is  at  a 
certain  point  of  its  run  at  a  certain 
time,  that's  that;  and  if  the  lighting  is 
bad  for  photography,  it's  iuit  too  bad. 

But  you  can  get  around  this  by  choos- 
ing your  locations  for  lighting  as  well 
as  action.  Sometimes,  too,  the  same 
train — eastbound  instead  of  westbound — 
moving  on  the  opposite  run,  or  even  a 
similar  but  earlier  or  later  train  can 
double  very  successfu'ly  in  such  shots. 

Railroad  photography  is  necessarily 
a  time  consuming  pursu't.  Often  one 
will  pry  himself  out  of  bed  at  an  un- 
holy hour,  drive  a  score  of  miles,  set 
up — and  return  with  hut  a  single  shot. 
If  another  angle  on  the  same  action  is 
wanted,  he  must  wait  until  another  day 
and  repeat  the  performance;  in  some  in- 
stances, as  with  the  transcontinental 
streamliners,  one  must  wait  a  full  week! 

Perhaps  the  most  important — and  the 
most  frequently  overlooked — feature  of 
rail  filming  technique  is  the  matter  of 
keeping  the  direction  of  a  train's  move- 
ment across  the  screen  consistent  from 
one  scene  to  the  next. 

Suppose  you  bef  in  a  sequ3nce  by 
showinf;  a  train  pulling  out  of  a  sta- 
tion. In  this,  let's  say  it  moves  across 
the  screen  from  left  to  right,  leaving 
the  scene  on  the  right  hand  side  of  the 
screen.  Well,  in  the  next  scene,  it  should 
enter  the  picture  from  left.  Once  in  the 
picture,  it  can,  if  you  wish,  turn,  leav- 
ing the  scene  toward  the  left:  but  in 
succeeding  scenes  it  should  then  be 
shown  entering  from  the  right  and  leav- 
ing to  the  left  until  it  is  again  shown 
turning. 

Don't  Mix  Directions 

In  the  same  way,  if  you  begin  a  se- 
quence showing  a  train  coming  toward 
the  camera,  succeeding  scenes  should 
show  the  train  ccming  toward  the  cam- 
era until  one  shows  it  approaching, 
turning  and  receding  (you  can  get  such 
shots  on  curves)  after  which  the  train 
should  always  be  shown  proceeding,  in 
its  new  direction. 

In  general,  the  less  you  mix  up  the 
direction  of  movement  the  more  consis- 
tently interesting — and  understandable — 
will  your  film  prove  to  non-rail  audi- 
ences. 

The  matter  of  camera  angles  is  of 
tremendous  importance.  Low  camera 
angles  will  give  an  impression  of  in- 
creased size;  high  ones  will  diminish  the 
apparent  massiveness  of  the  train. 

Extreme  long  shots  will  make  even 
the  speediest  streamliner  appear  to  be 
moving  more  slowly;  closer  angles  will 
make  the  train  seem  moving  faster  and 
faster  the  closer  you  get  to  it.  In  the 
same  way,  long  scenes  will  tend  to  slow 
the  motion,  while  short  flashes  speed 
it  up. 

Here,  by  the  way,  let  me  caution 
against  filming  the  train  crossing  the 
picture  close  to  the  camera  and  moving 


directly  across  the  frame.  At  normal 
camera  speeds  such  shots  are  likely 
to  be  unpleasantly  blurred  and  often 
jumpy;  a  three-quarter  angle — prefer- 
ably with  the  train  approaching — ^is 
much  more  effective. 

Probably  the  ideal  angle  is  that  shown 
in  the  illustration,  a  picture  of  the 
Southern  Pacific's  streamlined  "Daylight 
Limited."  Here  the  train  is  shown 
rounding  a  curve  and  approaching  the 
camera.  In  addition,  it  is  just  at  the 
start  of  a  gradient  (Santa  Suzanna 
Pass),  and  as  the  engineer  opens  his 
throttle  to  make  a  run  for  the  hill  and 
the  fireman  throws  extra  fuel  on  the 
fire  the  engine  streams  forth  a  highly 
pictorial  cloud  of  smoke. 

Speed  Variety  Helps 

The  opposite  extremes — the  virtually 
smokeless  running  a  good  fireman  can 
achieve  on  a  level  tangent,  and  the  over 
steamy  exhausts  from  stack  and  cylin- 
ders some  engineers  indulge  in  when 
starting — .are  not  so  desirable  for  pic- 
tures. 

A  variety  of  camera  speeds  is  help- 
ful in  railroad  filming,  though  they  are 
not  by  any  means  essential.  Our  modern 
da  luxe  trains — especially  the  speedy 
streamliners — start  very  slowly  and 
smoothly,  hardly  seeming  to  move. 

A  camera  speed  of  8  frames  a  second 
is  very  helpful  here.  On  the  other  hand, 
if  you  make  shots  from  the  train  itself, 
speeds  of  24  or  32  frames  a  second  will 
be  a  big  help  in  smoothing  out  the 
vibration. 

Within  the  past  few  years  a  develop- 
ment of  vast  importance  to  anyone  in- 
terested in  railroad  movie  making  has 
taken  place.  This  is  the  rise  of  special 
excursions  sponsored  by  the  various  or- 
ganizations of  railroad  and  railroad  pic- 
ture enthusiasts. 

Sponsored  by  such  groups  as  the  Rail- 
way and  Locomotive  Historical  Society, 
the  Railroad  Enthusiasts,  the  Railroad 
Boosters,  and  various  other  national 
and  local  organizations  of  railroad  and 
model-railroad  fans,  these  trips  afford 
special  opportunities  for  filming  railroad 
scenes  on  little  used  branch  lines,  heav- 
ily traveled  main  lines,  roundhouses, 
locomotive  and  car  shops,  and  the  like, 
which  might  otherwise  be  difficult  to  ob- 
tain. 

Excursion  Trips 

These  trips  are  constantly  taking  place 
in  every  section  of  the  country.  The 
cost  is  rarely  high;  a  recent  one  which 
netted  me  some  invaluable  shots  of  one 
of  California's  few  surviving  narrow 
gaur;e  railroads  and  equally  useful  ones 
made  from  the  de  luxe  Daylight  Lim- 
ited cost  less  than  the  price  of  a  single 
roll  of  16mm.  color  film! 

However,  if  you  go  on  one  of  these 
trips,  don't  imagine  you'll  be  the  only 
member  of  the  cine  fraternity  present. 
The  railroad  camera  enthusiasts  are 
taking  to  movies,  both  16mm.  and  8mm., 
in  increasing  numbers;  the  man  who  car- 
ries but  a  sintrle  camera  on  such  an 
excursion  will  find  himself  distinctly  in 
the  minority:  many  come  equipped  for 
both  stills  and  movies,  while  some  even 


pack  three  cameras,  complete  with  tri- 
pods, meters  and  other  accessories. 

But  at  any  rate,  if  you  are  looking 
for  a  subject  different  from  the  ordi- 
nary run  of  scenics,  travel-scenes  and 
shots  of  families  and  friends,  try  drama- 
tizing the  Iron  Horse. 

She  has  started  in  many  a  profes- 
sional film  from  the  days  of  "The  Great 
Train  Robbery"  down  to  today's  "Wells 
Fargo" — and  still  she  offers  pictures 
which  can  interest  any  audience. 

Agfa  Prints  Two  Booklets 

on  Photographic  Subjects 

Among  recent  publications  by  Agfa 
Ansco  Corporation  of  Binghamton,  N. 
Y.,  are  two  which  will  be  of  interest  to 
many  amateur  photographers.  One  is  a 
booklet  of  over  forty  formulas  for  photo- 
graphic use — including  developers,  fixers, 
intensifiers,  reducers,  desensitizers,  and 
toners.  Also  included  as  part  of  this  free 
booklet  is  a  practical  discussion  of  the 
principles  of  chemistry  that  are  impor- 
tant to  the  photographer. 

The  ether  publication  is  a  32-page 
catalog  of  Agfa  materials  for  amateur 
U£:e,  listing  and  describing  the  cameras, 
accessories,  films,  papers,  and  chemicals 
manufactured  by  Agfa  Ansco.  Both  the 
formula  bock  and  Catalog  56A  are  avail- 
able without  charge  at  photographic 
dealers  or  may  be  obtained  by  writing 
Agfa  Ansco  Corporation,  Binghamton, 
New  York. 


Kodak  Issues  Home  Outfit 

To  facilitate  the  photographic  educa- 
tion of  amateurs  who  receive  their  first 
cameras  this  Christmas,  the  Eastman 
Kodak  Company  has  assembled  a  home 
developing  and  printing  kit,  the  Kodak 
ABC  darkroom  outfit,  which  includes  all 
the  basic  material  and  equipment  for 
beginning  a  home  darkroom.  The  kit 
serves  for  negatives  up  to  and  includ- 
ing SVi  by  5V2  inches. 

Attractively  packaged,  the  new  outfit 
includes  a  Brownie  darkroom  lamp. 
Model  A;  a  four-oynce  graduate;  three 
4  by  6  inch  developing  trays;  one  half- 
pound  package  of  Kodak  acid  fixing 
powder;  three  tubes  of  Eastman  Univer- 
sal developer;  two  dozen  sheets  of  Vel- 
vet velox  paper,  Contrast  No.  3,  size 
3^/4  by  5^/^;  two  Kodak  junior  film  clips; 
a  glass  stirring  rod;  Eastman  printing 
frame  and  glass,  and  an  instruction 
booklet  giving  complete  information  for 
developing  and  printing  negatives. 

The  ABC  outfit  is  designed  to  help  the 
"rookie"  amateur  avoid  difficulties  and 
errors  in  his  purchases  at  the  start  of 
his  darkroom  experience. 


Agfa  Plays  Santa  Glaus 

A  Christmas  bonus,  totaling  approx- 
imately $100,000,  has  been  declared  by 
Agfa  Ansco  Corporation,  and  was  dis- 
tributed among  Agfa  employees  about 
December  15.  The  Christmas  bonus,  an- 
nounced by  Dr.  Ernst  Schwarz,  Agfa 
president,  was  credited  to  the  general 
gain  in  business  during  1937. 


34     American  Cinematographer     •     January,  1938 


TbjbiA  o^ihsi  Wjovk  Q^A 


Walter,  Horton,  Mrs.  Armstrong 

Win  Top  Honors  in  8mm.  Group 


THE  annual  banquet  and  contest  of 
the  8mm  Club  was  held  at  the 
Victor  Hugo  Cafe,  Beverly  Hills,  Decem- 
ber 11.  The  attendance  exceeded  160  and, 
in  keeping  with  the  history  of  this  club, 
was  the  most  successful  annual  gather- 
ing thus  far. 

At  the  conclusion  of  an  excellent  din- 
ner Dr.  F.  R.  Loscher,  the  retiring  presi- 
dent, introduced  the  incoming  officers: 
C.  G.  Cornell,  president;  J.  H.  Taylor, 
vice  president;  B.  B.  Vogel,  secretary, 
and  William  Wade,  treasurer.  The  retir- 
ing officers,  M.  R.  Armstrong,  secretary- 
treasurer;  John  E.  Walter,  vice  president, 
and  Dr.  Loscher  then  sang  their  three- 
part  swan  song. 

A  drawing  was  then  held  and  door 
prizes  consisting  of  one  roll  of  panchro- 
matic film  each  was  won  by  E.  J.  Brouil- 
lette,  Jr.,  Clifford  R.  Carpenter  and  Mrs. 
Phillip  Richards.  We  shall  all  be  looking 
forward  to  seeing  what  they  have  done 
with  these  rolls  at  the  February  meeting, 
as  a  suitable  reward  has  been  arranged 
for  the  best  one  submitted. 

Dr.  Loscher  called  on  William  Stull, 
ASC,  to  give  the  results  of  the  judges' 
decisions.  The  judges  were  all  members 


Dr.  J.  H.  Taylor,  Vice  President  Los 
Angeles  8mm  Club 


of  the  American  Society  of  Cinematog- 
raphers,  the  two  others  being  Charles  G. 
Clarke  and  Ned  Van  Buren.  Their  find- 
ings were  as  follows: 

John  Walter  was  the  well  deserving 
winner  of  the  first  prize,  consisting  of  a 
$25  merchandise  order  given  by  Eastman 
Kodak  Stores  and  a  two-year  subscrip- 
tion to  the  American  Cinematographer. 
His  picture  was  a  two-reel  travelogue  in 
kodachrome  entitled  "A  Midsummer 
Night's  Dream." 

"Away  From  All  Cares,"  a  kodachrome 
vacation  picture  which  by  the  rules  gov- 
erning it  was  not  eligible  for  the  Hor- 
ton  Vacation  Trophy,  won  second  prize 
for  William  Horton.   This  prize  was  a 


C.  G.  Cornell,  president  Los  Angeles 
8mm  Club 


$23.50  beaded  screen  donated  by  the 
J.  W.  Robinson  Company  and  a  one-year 
subscription  to  Home  Movie. 

Mrs.  Charlotte  Armstrong's  picture 
"Thru  the  Filter"  won  for  her  third 
prize  consisting  of  a  Western  exposure 
meter,  a  $22.50  value  given  by  Petersen's 
Camera  Exchange. 

"My  Alaska  Cruise,"  a  two  reel  travel- 
ogue in  kodachrome,  was  awarded  fourth 
prize.    This  picture  by  C.  G.  Cornell 


earned  for  him  a  $15  merchandise  order 
at  Bell  &  Howell's. 

"Escape,"  a  vacation  film,  won  fifth 
prize  for  Ed  Pyle,  a  $10  merchandise 
order  at  Bell  &  Howell's. 

"The  Pest,"  by  Earl  Janda,  was  sixth, 
a  $5  merchandise  order  at  Bill  Winter 
Inc. 

"Kleptomania,"  by  Bion  Vogel,  won 
the  seventh  award,  a  $3.50  merchandise 
order  by  A.  L.  Kirkhuff  of  Glendale. 

The  special  class  award  for  the  Horton 
Vacation  Trophy  was  then  made  to  John 
Walter  for  his  "Midsummer  Night's 
Dream." 

Dr.  Loscher  asked  for  an  audible  vote 
as  to  how  many  of  the  prize  pictures 
should  be  run  and  it  was  unanimous  that 
all  seven  winning  pictures  should  be 
shown.  To  a  person  the  160  present  re- 
mained until  well  after  midnight  and  no 
one  regretted  it. 

BION  B.  VOGEL,  Secretary. 


Cinema  Club  oi  San  Francisco 

THE  Cinema  Club  of  San  Francisco 
at  its  meeting  December  14  elected 
E.  G.  Petherick  as  president,  C.  D.  Hud- 
son vice  president,  Vernon  Hallet  secre- 
tary, H.  T.  Kelly  treasurer,  and  W.  Ce- 
bulla,  Maxwell  MacVean  and  H.  L.  Mil- 
ler directors. 

George  L.  Waters  filmed  two  Koda- 
chrome subjects,  "AVestward  Ho"  and 
"The  Grand  Tetons  of  Wyoming." 

E.  G.  PETHERICK,  President. 


Bion  B.  Vogel,  secretary  Los  Angeles 
8mm  Club 


January,  1938 


American  Cinematographer  35 


Gerstenkorn  and  Chapman  Lead 

Winners  of  Los  Angeles  Cinema 


THE  members  of  the  Los  Angeles 
Cinema  Club  met  in  the  banquet 
room  of  the  University  Club  at  6:30  on 
December  7.  The  secretary-treasurer, 
James  H.  Mitchell,  in  his  annual  report 
stated  there  were  seventy-eight  mem- 
bers of  the  club  in  good  standing. 

The  Board  of  Directors  had  author- 
ized an  appropriation  of  $69.95  with 
which  to  purchase  a  loud  speaker  and 
turn  table  for  the  club.  This  purchase 
had  been  made  through  the  Stith-Noble 
Corporation. 

The  nominating  committee  named 
these  officers  for  the  ensuing  year: 
A.  L.  Gram  for  president,  James  H. 
Mitchell  for  vice-president  and  R.  B. 
Stith  for  secretary-treasurer.  These  were 
elected  by  acclamation. 

At  the  request  of  Dr.  Bailey,  retiring 
president,  President  Gram  announced 
his  plans  and  policies  for  the  ensuing 
year,  which  were  enthusiastically  re- 
ceived by  members  present. 

The  program  then  was  turned  over 
to  Fred  Champion,  chairman  of  the 
Contest  Committee,  who  stated  the  pic- 
tures that  had  been  entered  in  the  an- 
nual contest  had  been  judged  by  a  spe- 
cial contest  committee  from  the  Para- 
mount Amateur  Movie  Club,  and  in  ac- 
cordance with  the  rating  given  each  pic- 
ture by  the  committee  of  judges  the 
following  pictures  were  awarded  prizes: 
Best  photography,  400  foot,  "Japan 
and  Its  People,"  Dr.  Roy  E.  Gerstenkorn 
• — S25  merchandise  order  donated  by 
Eastman  Kodak  Stores,  Inc. 

Best  color  film,  400  foot,  "Bryce  Can- 
yon," E.  F.  G.  Chapman — ^25  merchan- 
dise order  donated  by  Bell  &  Howell. 

Story  Class — First,  "Egypt  and  the 
Land  of  the  Nile,"  Dr.  A.  Freebairn — 


James   H.   Mitchell,    vice-president  Los 
Angeles  Cinema 


Three  100-foot  rolls  Agfa  film  donated 
by  Agfa  and  one  year's  subscription  to 
American  Cinematographer. 

Second,  "My  First  Hair  Cut,"  Ed 
Pyle — SIO  merchandise  order  donated  by 
Winters,  Inc. 

Third,  "In  His  Father's  Footsteps," 
James  H.  Mitchell— Two  100-foot  rolls 
Super  Pellex  film  donated  by  Pellex 
Film  Co. 

Documentary  Class — First,  "Tropical 
Interlude,"  Earl  Memory — $20  36  by  48 
screen  donated  by  Victor  Animatograph 
Corporation  and  one  year's  subscription 
to  American  Cinematographer. 

Second,  "Six  Weeks  with  a  Humming- 
bird," Ralph  G.  Herr — Splicer  and  titler 
donated  by  Hollywood  Cine  Film  Dis- 
tributors. 

Third,  "Fire  Mountains  of  Yesterday," 
Ralph  D.  Taylor— Two  100-foot  rolls 
Ortho  film  donated  by  Pellex  Film  Co. 

Honorable  Mention — -"Safari  Land," 
by  Dr.  Gerstenkorn;  "Kalaidescopic"  and 
"Guatemala,"  by  Levy. 

Wilton    Carneal,   president   of  Para- 


C.  W.  Wade,  treasurer  Los  Angeles 
8mm  Club 


mount  Amateur  Movie  Club  and  mem- 
ber of  the  committee  of  judges,  gave  a 
few  criticisms  as  some  of  the  pictures 
entered  in  the  contest  were  shown.  The 
following  are  the  committee's  comments 
on  the  two  leading  winners: 

"Scenic  Bryce  Canyon,"  by  E.  F.  G. 
Chapman — "There  is  very  little  one  can 
add  to  a  picture  of  this  quality.  It  was 
excellent  from  every  standpoint.  A  sug- 
gestion or  two — a  few  titles  in  the  body 
of  the  picture,  and  placing  at  the  end. 


for  a  better  climax,  some  of  the  breath- 
taking shots  in  the  middle  of  the  picture. 
Congratulations  to  you,  Mr.  Chapman, 
on  a  mighty  fine  picture." 

"Japan  and  Its  People,"  by  Dr.  Gersten- 
korn— "Dr.  Gerstenkorn  is  to  be  congrat- 
ulated on  the  fine  job  he  has  done  in 
capturing  the  spirit  of  the  people.  The 
picture  is  full  of  human  interest  and 
well  edited.  The  photography  is  excel- 
lent and  worthy  of  its  award  as  the 
best  picture  from  the  standpoint  of 
photography.  The  only  criticism  against 
the  picture  is  that  it  begins  and  ends 
too  abruptly." 


Lawrenson's  'Happy  Day' 

Takes  Honors  in  Japan 

By  FRED  C.  ELLS 

TOKYO,  Dec.  1.— "Happy  Day"  T. 
Lawrenson's  home  life  16mm. 
movie,  made  in  Dundee,  Scotland, 
won  first  place  and  the  Honorary  Presi- 
dent's Cup  in  the  First  International 
Amateur  Film  Competition  held  in 
Tokyo  by  the  Sakura  Kogata  Eiga 
Kyokai.  Second  place  went  to  Mr.  Ogino, 
Tokyo,  for  his  industrial  film,  "Agar 
agar."  Third  place  was  awarded  "Bom- 
merli,"  produced  by  R.  Groschopp  of 
Berlin. 

Other  films  placing  in  the  ten  best 
were  "Chrysanthemum  Culture,"  by  R. 
Imaeda,  Osaka;  "Insect  Life,"  K.  Kaki- 
moto,  Nara;  "V-Ray  Tube"  J.  Martin, 
London;  "Kudani  Porcelain"  K.  Mizu- 
hara  &  R.  Ishida,  Komatsu;  "Mount 
Fuji  in  Winter"  T.  Nagahara,  Tokyo; 
"Netting  Wild  Ducks,"  I.  Shima,  Tokyo; 
"Surf,  Sand  and  Sunshine,"  J.  A.  Sher- 
lock, Sydney,  Australia. 

Among  the  second  ten  best  were  two 
German  productions,  "Eine  Kleine  Konig- 
stragodie,"  by  R.  Groschopp,  and  "Fruh- 
ling  and  Bodensee,"  by  G.  Schneider.  All 
the  others  in  this  class  were  Japanese. 

It  was  the  considered  opinion  of  the 
judges  that  Japanese  photography  and 
general  camera  work  are  fully  up  to  the 
best  international  standards,  but  that 
in  cutting  and  editing  the  films  from 
abroad  on  the  whole  were  superior. 

Japanese  entries  were  almost  entirely 
of  a  cultural  nature  suitable  for  general 
showing  in  the  educational  field,  where- 
as  the   foreign    films    submitted  were 


f 

Richard    (Dick)    Stith,  secretary-treas- 
urer Los  Angeles  Cinema  Club 


36     American  CinematographEr     •     January,  1938 


mostly  of  a  personal  nature  or  scenic, 
made  for  amusement  and  private  show- 
ing. 

The  winning  films  were  projected  on 
Nov.  26,  in  Tckyo,  before  an  audience 
of  700  members  and  friends  of  the 
Sakura  Kogata  Eiga  Kyokai.  This  was 
the  biggest  amateur  film  show  ever  held 
in  the  Far  East.  At  this  time  the  prizes 
and  awards  were  distributed  by  Marquis 
Yamashina,  honorary  president  of  the 
society,  and  by  Count  Kuroda. 

Additional  performances  also  are  to 
be  given  December  6  and  16  to  those 
members  and  others  unable  to  be  present 
at  the  first  performance.  A  further 
series  of  projections  is  scheduled  in 
Osrka  and  one  or  two  other  large  cities 
during  January. 


Chicago  Cinema  Club 

NEWS  Flashes,  official  bulletin  of 
the  Chicago  Cinema  Club,  oldest 
incorporated  amateur  movie  organization 
in  the  United  States,  in  its  issue  for 
January  1  announces  some  of  the  prin- 
cipal doings  scheduled  for  the  coming 
year.  Editor  S.  F.  Warner,  1538  Maren- 
go avenue.  Forest  Park,  outlines  the 
first  programs. 

January  G  there  will  be  a  business 
meeting,  with  tinting  and  toning  and 
refreshments  properly  separated.  Jan- 
uary 13  the  main  subject  will  b-?  "Fil- 
ters and  Their  Effect  on  Your  Films," 
the  big  talk  to  be  made  by  Member 
J.  E.  Wilcox  of  Aimer  Coe  and  Company. 

January  20  "Western  United  States 
Beauty"  will  call  for  a  triple  feature 
night.  The  trio  will  be  offered  by  Art 
Josephson,  Dr.  Chesrow  and  C.  B.  Rob- 
ertson. 

January  27  there  will  be  a  program 
much  out  of  the  ordinary,  a  visit  for 
members  only  to  a  projection  booth  of 
a  major  theater,  where  an  opportunity 
will  be  provided  to  see  how  films  are 
handled  professionally. 


Argentine  Cine  Club  Has 

Special  Showing  of  Films 

ACCORDING  to  information  received 
from  Senor  Oscar  J.  Bonello,  secre- 
tary of  the  Cine  Club  Argentino  of 
Buenos  Aires,  Argentina,  this  club,  un- 
der the  presidency  of  Senor  Enrique  de 
la  Carcova,  held  a  special  exhibition 
dedicated  to  children,  on  November 
22.  The  exhibition  was  divided  in- 
to three  forty-minute  sections,  and  the 
program  consisted  largely  of  sub- 
standard library  films  from  the  Koda- 
scope,  Kinagfa  and  other  libraries,  se- 
lected specially  for  their  suitability  for 
juvenile  audiences. 

The  highlight  of  the  final  division  of 
the  program,  however,  was  the  club's 
own  contribution  to  the  Argentine  Moth- 
ers' Club's  campaign  for  child  welfare, 
a  film  entitled,  "Distraccion  e  Impru- 
dencia,"  filmed  by  Club  Secretary  Bo- 
nello and  Member  Roberto  Robertie. 

It  is  to  be  hoped  other  clubs  will 
follow  the  lead  of  Argentina's  organiza- 
tion in  aiding  worthy  civic  and  national 
campaigns  by  the  powerful  aid  of  ama- 
teur movies. 


Cinema  Club  of  the  Oranges 

THE  Cinema  Club  of  the  Oranges 
has  a  nifty  bulletin  with  the  title 
of  Tempo.  The  publication,  which  now 
has  a  score  of  Volume  4,  No.  2,  is  in 
four  columns,  each  about  3^  to  4  inches 
wide  and  d'/z  inches  deep.  The  sheet  is 
11  by  17  inches  overall.  In  the  issue 
before  us  there  are  two  cuts. 

William  Murphy,  who  received  honor- 
able mention  for  his  "If  Rugs  Could 
Talk"  in  the  Cinematographer  contest, 
is  a  member  of  the  club  of  the  Oranges. 


The  meeting  December  17  was  held 
at  the  home  of  President  Vanderlipp  in 
East  Orange.  While  officially  it  was 
ladies'  night  the  bulletin  su.'^gests  in 
reality  it's  "wives'  night." 

Three  films  were  shown:  "Nova  Scotia 
Fishing  Fleet,"  "Life  in  Nova  Scotia" 
and  "Newfoundland."  The  R?v.  C.  A. 
Piatt  of  the  Munn  Avenue  Prssbyterian 
Church,  East  Orange,  also  spoke. 

There  was  a  short  business  meeting 
preceding  the  meeting  and  refreshments 
following  it. 


Eastman  Issues  a  New  Model 
Miniature  Camera  m  Retma  II 


ANEW  modern  35mm.  miniature 
camera  for  black-and-white  and 
full  color  Kodachrome  pictures,  the 
Kodak  Retina  II,  is  announced  from 
Rochester  by  Eastman. 

Similar  in  siz3  and  styling  to  the 
original  f.3.5  Kodak  Retina  I,  this  new 
member  of  the  Retina  family  incorpo- 
rates a  number  cf  technical  advances, 
particularly  in  lens  speed,  flexibility  of 
operation  and  "error-proofing." 

It  offers  a  choice  of  high-speed 
anastigmat  lenses,  either  f.2.0  or  f.2.8; 
is  equipped  with  coupled  range  finder 
focusing,  shutter  speeds  from  1  full 
second  to  1/503,  body  shutter  release, 
and  dcuble-exposure-prevention  device. 

The  body  of  die-cast  aluminum  alloy, 
made  to  a  special  formula  calculated  for 
extra  toughness  and  rigidity.  This  body 
is  covered  with  tough-surfaced  black 
morocco-grain    leather.    Film  controls. 


exposure-count  dial,  and  shutter  release 
are  mounted  on  a  trimly-styled  monitor 
turret  finished  in  satined  chromium. 

The  shutter  is  a  Compur-Rapid, 
maiked  for  nine  speeds  from  1  second 
to  1/500  second.  Exposures  timed  at 
intermediate  speeds  also  may  be  made 
between  1  second  and  1/100  second  (ex- 
cept between  1/10  and  1/25)  by  setting 
the  shutter-rim  dial  between  the  mark- 
ings. 

Shutter  plunger  and  film  winding 
knob  are  coupled  so  that  once  the  shut- 
ter is  tripped,  the  film  must  be  wound 
before  the  shutter  release  will  operate 
again.  This  gives  positive  protection 
against  double  exposures.  The  film  wind- 
ing knob  is  halted  automatically  by  a 
dead-stop  device  when  the  proper  amount 
of  film  for  another  exposure  has  been 
wound  into  place. 


Eastman  Kodak's  new  Retina  II 


January,  1938      •     American  Cinematographer  37 


Philadelphia  Cinema  Club  Has 

Best  Attendance  in  Its  History 


At  the  regular  December  meeting  on 
the  14th  there  were  shown  for  the  en- 
tertainment of  the  members  four  filnn, 
three  of  them  with  musical  accompani- 
ment. 

The  first  was  a  Castle  News  film  of 
by-gone  days,  with  a  sound  background, 
highlighted  with  views  of  the  Wright 
brothers  in  their  first  flights;  Caruso, 
Buffalo  Bill,  Lillian  Russell,  Andrew 
Carnegie,  William  Jennings  Bryan  and 
Senator  Borah. 

The  second  film  was  "Circus  Days," 
by  A.  L.  0.  Rasch  in  black  and  white. 
The  primal  y  views  were  taken  inside  the 
main  tent  of  the  Barnum  and  Bailey 
Circus.  The  musical  accompaniment  for 
this  film  was  a  record  by  the  Circus 
Band,  so  timed  that  it  fitted  in  to  the 
change  of  scenes  and  change  of  acts,  as 
depicted  in  the  film.  "Circus  Days"  is 
believed  to  be  one  of  the  finest  of  black 
and  white  films  ever  turned  out  in  an 
Amateur  Club. 

"Shining  Mountains,"  by  Robert  W. 
Crowther,  the  eminent  Saturd:iy  Evening- 
Post  illu.strator,  followed  by  "Trees," 
the  woik  of  R.  W.  Bugbee,  another  one 
of  our  artistic  members,  topped  off  the 
films  viewed  by  the  membership.  Both 
of  these  scenic  films  were  in  color  with 
musical  background  of  an  appropriate 
nature. 

R.  M.  Root,  president,  put  before  the 
membership  the  details  of  our  next  con- 
test. This  will  be  limited  to  a  showing 
of  50  feet  in  16mm.,  and  its  equivalent 
in  8mm.  Showing  will  be  divided  into 
two  groups,  one  for  each  of  the  two  ama- 
teur sizes,  and  each  member  is  to  put 
a  film  into  the  contest,  due  for  the  May 
meeting. 

Beginning  with  our  December  meeting, 
admission  of  other  than  members  is  by 
card  only.  That  this  was  a  huge  suc- 
cess was  demonstrated  by  the  fact  that 
the  attendance  of  members  and  guests 
were  close  to  160  persons,  the  finest 
showing  and  turn-out  the  Philadelphia 
Cinema  Club  has  had  in  its  existence. 

The  January  meeting  will  be  devoted 
primarily  to  gadgets  that  the  members 
are  to  bring  in. 

B.  N.  LEVENE, 
Chairman  Publications  Committee. 


Seattle  8mm.  Club 

THE  Seattle  8mm.  Cub  held  its  first 
annual  election  and  dinner  Decem- 
ber 7,  with  fifty  persons  in  attendance 
during  the  evening.  There  were  eight 
door  pr.'zes  given  by  Clyde's  Camera 
Exchange,  Eastman  Kodak  Stores,  Reg 
M-Kee,  J.  Warshall  and  Sons,  and  Weis- 
fisld  and  Goldberg.  The  dinner  was  held 
in  the  Gold  Room  of  the  Roosevelt  Hotel. 

A.  0.  Jensen  was  elected  president, 
Charles  H.  Franklin  vice  president  and 
W.  N.  Chance,  126  North  Eighty-third 
street,  secretary. 


The  entertainment  consisted  of  prize- 
winning  pictures  from  the  vaults  of  the 
American  Cinematographer  and  demon- 
stration films  exposed  by  members  in 
and  around  Seattle. 


New  Universal  Cement 

Bell  and  Howell  announces  a  film 
cement  equally  effective  on  both  safety 


WHEN  an  Englishman  sets  forth  to 
write  a  book  about  American  mo- 
tion pictures,  he  is  often  likely  to 
go  to  one  of  two  extremes:  he  is  likely 
to  unleash  the  barbs  of  a  scornful  vo- 
cabulary in  a  sustained  blast  at  any- 
thing from  Hollywood  or  to  fawn  all 
too  obviously  upon  everyone  connected 
with  American  films. 

Eric  H.  Rideout,  in  his  recent  book, 
"The  American  Film,"  published  by  the 
Mitre  Press,  London,  commits  neither 
of  these  errors.  Instead,  this  author 
analyzes  in  a  scholarly  but  none  the 
less  interesting  fashion  the  outstanding 
American  productions  of  the  last  few 
years  and  the  styles  and  abilities  of 
their  makers. 

Too  many  works  of  this  type  fail  to 
penetrate  beneath  the  surface,  attribut- 
ing sole  credit  or  blame  for  everything 
to  the  director,  with  the  remaining  at- 
tention lavished  exclusively  on  the  play- 
ers. Not  so  with  Rideout. 

On  the  contrary,  while  he  studiously 
discusses  the  work  of  sixty-two  leading 
directors,  he  gives  full  and  generous 
credit  to  the  cinematographers  as  well. 
For  almost  the  first  time  since  the 
cinema  became  worthy  of  bookish  dis- 
cussion we  find  a  critic  not  intimately 
connected  with  Hollywood  giving  credit 
for  the  visual  aspects  of  pictures  not 
to  the  director  but  to  the  cameraman. 

Virtually  every  member  of  the  Amer- 
ican Society  of  Cinemato'^raphers  who 
is  engaged  in  major  studio  production 


Sydney  Invites  Juniors 

IN  a  letter  to  the  editor  James  A. 
Sherlock,  S.A.C.,  writes: 
"If  any  members  of  our  Junior 
Society  are  passing  this  way  I  would 
be  pleased  to  give  them  any  filming 
assistance  possible  and  the  Australian 
Amateur  Cine  Society  would  appre- 
ciate any  edited  films  they  might 
bring  or  send  along  to  our  meetint^s." 

Sydney,  Australia,  Box  826G,  Gen- 
eral Post  Office. 


and  standard  film.  The  safety  and  stand- 
ard film  cements  formerly  supplied  by 
Bell  and  Howell  are  both  superseded  by 
the  single  new  cement.  It  is  claimed 
the  new  product  foi-ms  splices  that  are 
stronger  than  the  film  itself. 

The  new  cement  is  declared  to  be 
much  less  subject  to  deterioration  than 
other  types  because  it  will  not  absorb 
moisture  fiom  the  air.  It  could  even 
stand  a  10  per  cent  addition  of  water 
without  losing  its  bonding  power. 

The  new  product  does  not  dissolve  the 
dye  in  Kodachrome  film,  and  therefore 
it  can  be  used  with  the  certainty  there 
will  be  no  discoloration  of  Kodachrome 
film  adjacent  to  the  splice. 


cinematography  is  mentioned  at  least 
once  in  the  book,  and  much  space  is 
given  to  several  of  the  more  outstand- 
ing members. 

In  addition,  since  it  is  obviously  the 
author's  opinion  that  the  cinematogra- 
pher rather  than  the  director  is  responsi- 
ble for  such  visual  details  as  composition 
and  lighting,  the  many  illustrations, 
made  from  production  stills,  are  credited 
only  to  the  production  company  and  to 
the  cinematographer. 

Credit  to  Rosher 

There  is  a  worthwhile  chapter  deal- 
ing with  the  work  of  the  cinematog- 
rapher in  which  the  acknowledged  as- 
sistance of  Charles  Rosher,  A.S.C.,  is 
evident.  In  it  the  author  gives  evidence 
of  a  far  more  careful  study  of  the  work 
and  artistic  styles  of  individual  cine- 
matographers than  is  common  among 
lay  critics. 

Chapters  dealing  with  the  work  of 
art  directors  and  players  are  also  in- 
cluded, as  are  others  dealing  with  the 
artistic  aspects  of  sound  and  color. 

Rideout's  reaction  to  cinematic  color 
is  perhaps  the  least  pleasing  aspect  of 
his  book,  for  instead  of  tempering  his 
views  with  an  appreciation  of  the  new- 
ness and  complexity  of  natural-color 
cinematography  and  the  real  achieve- 
ment encompassed  in  the  short  time 
modern  color  cinematography  has  been 
possible,  he  seems  to  see  more  clearly  its 
shortcomings  from  absolute  perfection. 

That  these  shortcomings  exist  is  un- 
deniable; but  that  the  favorable  po- 
tentialities of  color  outweigh  its  faults 
is  the  more  general  opinion  among  the 
cinematographic  community.  It  must  be 
admitted,  however,  that  Rideout  pre- 
pared his  book  too  early  in  the  year 
to  have  seen  any  of  the  advances  shown 
in  the  most  recent  color  production. 

In  general  it  may  be  said  without  res- 
ervation "The  American  Film"  is  to  be 
heartily  recommended  to  membsrs  of 
the  camera  craft  and  to  all  others  in- 
terested in  a  truly  intelligent  anaylsis 
of  modern  motion  pictures  and  their 
makers.  W.  S. 


ENGLISHMAN  ANALYZES 

AMERICAN  FILM  MAKERS 


38     American  Cinematographer     •     January,  l'J38 


MUST  BE  PRACTICAL  PLAN  FOR 
EDUCATIONALS^  DISTRIBUTION 


THE  production  of  educational  mo- 
tion pictures  is  still  in  an  em- 
bryonic stage.  The  importance  of 
this  type  of  picture  is  just  beginning  to 
be  realized  not  only  by  members  of  the 
profession  but  also  by  schools  and  col- 
leges, leading  industries  and  the  United 
States  government. 

The  activity  and  interest  in  educa- 
tional pictures  is  ever  increasing,  but  a 
practical  plan  for  production  and  dis- 
tribution is  necessary  to  serve  as  an  in- 
centive and  inspiration  to  some  of  our 
best  technicians. 

The  services  of  those  who  are  con- 
versant with  scientific  methods  cannot 
be  enlisted  unless  the  remuneration  is 
commensurate  with  their  ability  and, 
incidentally,  equal  to  what  they  com- 
mand in  industrial  fields. 

The  solution  to  this  problem  is  not 
very  far  in  the  offing,  and  when  the 
time  comes  it  will  create  unusual  oppor- 
tunities for  those  who  are  best  qualified. 

The  educational  field  is  acknowledged 
to  be  a  gigantic  one.  Few,  however, 
seem  to  be  practically  and  progressively 
working  toward  a  goal  which  will  place 
this  subsidiary  to  feature  productions  in 
its  rightful  position. 

Small  so-called  educational  picture 
producers  have  done  much  to  retard  the 
progress  of  this  highly  specialized  field 
of  endeavor.  Definitely,  there  is  a  dif- 
ference in  documentary  films,  industrial 
motion  pictures  and  educational  produc- 
tions. 

Specialized  Fields 

An  organization  producing  industrial 
pictures  should  not  attempt  to  make 
educational  films  and  vice  versa.  Also, 
documentary  films  are  in  an  entirely  dif- 
ferent category  and  it  is  therefore  an- 
other specialized  field  of  cinematogra- 
phy, where  little  if  any  distribution  is 
necessary. 

Industrial  films  stand  alone  as  promo- 
tional or  propaganda  material;  they  are 
classed  primarily  as  advertising  and 
have  little  educational  value.  Distribu- 
tion of  industrial  pictures  is  compara- 
tively simple  and  not  so  complex  a  prob- 
lem as  the  educational  film. 

Money  has  been  and  is  being  spent  lib- 
erally for  the  production  of  industrial 
films,  and  permits  the  producers  to  make 
excellent  material  comparable  to  that  of 
theatrical  productions.  There  are  today 
a  number  of  organizations  producing 
quality  films  for  various  commercial 
enterprises. 

These  pictures  are  primarily  produced 
and  sponsored  by  industrial  organiza- 
tions, and  are  doing  the  job  of  adver- 
tising for  which  they  are  intended. 

Educational  pictures  should  stand  for 
what  the  classification  implies.  They 
mu.st  reach  the  peak  in  flawless  produc- 
tion; a  criterion  for  others  to  follow, 


Activity  Increasing,  But 
It  Is  Specialized  Field — 
Trained  Men  Must  Be  Paid 
Full  Value  in  Other  Fields 

By  Reed  N.  Haythorne,  A.S.C. 

Washington  Staff  Correspondent 

and  comparable  to  several  hours  of 
highly  interesting  lecture,  yet  presented 
in  a  relatively  short  space  of  time. 

Superfluous  Phrases  Out 
The    lecture    or   narration    must  be 
precise  and  to  the  point,  shorn  of  super- 
fluous phrases.  The  illustrative  material 
must  follow  along  the  same  channel. 

In  other  words,  if  the  lecture  is  con- 
structed around  a  plow,  place  emphasis 
on  the  plow  in  the  picture,  and  if  the 
sound  is  that  of  a  bee,  depict  a  bee. 
Superlatives  do  not  have  a  place  in  the 
production  of  educational  pictures. 

Education  is  indeed  a  hard  thing  to 
sell.  How  many  times  have  you  heard 
the  story,  "Oh,  I  went  to  sleep  while  he 
was  talking"  or  "When  I  was  in  college 
I  slept  at  my  lecture  classes,"  and  so 
on? 

Many  times,  no  doubt,  you  have  heard 
it  said  that  the  average  person  has  a 
mind  equal  to  that  of  a  fourteen-year- 
old.  With  these  in  mind  you  are  readily 
aware  that  you  must  make  the  pictures 
interesting  enough  to  hold  the  attention 
of  the  audience,  and  in  simple,  straight- 
forward language. 


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The  story  that  is  being  told  .should 
be  narrated  and  illustrated  in  parallel 
unison.  The  illustrative  matter  must 
tell  the  complete  story;  likewise  the  lec- 
ture or  narration  must  tell  the  same 
.story  in  a  running  monologue. 

Big  Companies  Know 

If  the  scenes  and  presentation  of  the 
subject  are  made  in  an  entertaining  and 
unique  fashion  with  odd  angles  to  pic- 
ture the  subject  to  its  best  advantage 
it  is  fairly  certain  the  picture  will  hold 
the  attention  desired. 

The  large  production  organizations 
that  have  for  many  years  been  making 
feature  release  films  for  theaters  are 
recognized  authorities  in  the  world  of 
entertainment. 

There  are  few  producers  of  distinc- 
tion who  are  engaged  in  strictly  educa- 
tional films.  In  1932  there  were  32,031,- 
549  students  going  to  school  every  day 
in  public  schools  in  the  United  States. 
The  colleges  and  universities  of  the 
United  States  had  over  771,000  students 
enrolled. 

The  increase  since  1932  has  been 
enormous  and  an  approximate  estimate 
of  35,000,000  persons  interested  in  edu- 
cation is  fairly  conservative.  Progress 
in  all  the  sciences,  professions  and  the 
various  arts  has  been  accelerated  to  a 
degree  that  makes  obsolete  all  previous 
efforts,  and  is  ever  forging  ahead  to 
greater  heights  of  achievement. 

Millions  Clamoring  for  Ideas 

There  are  approximately  35,000,000 
students  in  the  United  States  clamoring 
for  new  ideas  in  the  field  and  there  are 
a  number  of  universities,  one  of  which 
is  the  University  of  Chicago,  establish- 
ing a  precedent  on  a  new  educational 
idea  which  adopts  the  student's  optional 
plan  of  selecting  any  course  of  study 
and  completing  it  as  rapidly  as  it  is 
possible  for  him  to  do  so. 

Thus,  if  the  student  is  sufficiently  ad- 
vanced in  scholastic  attainments,  the 
length  of  time  required  for  any  given 
course  and  his  ultimate  success  would 
depend  entirely  upon  himself. 

This  is  the  time  to  utilize  the  experi- 
ence and  finesse  of  the  large  producers 
of  theatrical  pictures  and  educational 
authorities  with  the  definite  view  of 
offering  these  35,000,000  daily  students 
a  stimulating  incentive  in  progressive 
education  in  the  form  of  quality  motion 
pictures. 

It  seems  reasonable  to  believe  that 
this  potential  market  of  35,000,000 
should  not  be  overlooked  by  our  most 
successful  producers.  Technicians  should 
rally  to  this  splendid  cause  and  promote 
this  field  of  activity  toward  a  united 
effort  and  progression  in  all  specialized 
fields. 


January,  1938     •     American  Cinematographer  39 


High  School  Lad  Finances  His  Films 

Running-  Own  16mm  Projector  Since  12  Years  Old — 
Also  has  8mm  Camera  and  Projector — Chief 
Objective  Is  Building-  for  Future 

By  GEORGE  OLIVER  SMITH, 
Weiser,  Idaho 


LOTS  of  people  say  to  me,  "I'd  like 
to  have  a  movie  outfit  like  yours, 
but  I  couldn't  afford  to  buy  the 
films."  I  thought  that,  too,  at  first.  I 
had  to  find  a  way  to  finance  my  films 
since  I  am  only  a  junior  in  high  school 
and  my  folks  have  plenty  of  other  places 
for  their  money. 

I  have  been  running  a  16mm.  projector 
{my  own)  since  I  was  twelve  years  old 
and  a  16mm.  camera  (a  borrowed  one) 
since  I  was  thirteen.  Since  then  I  have 
bought  an  8mm.  camera  and  projector. 
I  earned  all  the  money  I  have  invested 
in  these  machines.  They  are  worth 
over  $100. 

We  lived  on  a  farm  until  last  fall. 
I  had  a  little  theater  in  a  long  shed 
where  my  partner  and  I  ran  a  great 
many  shows  for  the  neighborhood,  school 
and  clubs.  Sometimes  these  were  pay 
shows  (5  cents)  ...  if  we  had  to  rent 
the  films.  If  the  films  were  free  we 
gave  free  shows  and  usually  got  enough 
tips  to  pay  the  postage  or  express  to 
return  the  films. 

We  showed  educational  and  scenic 
films  from  the  Goodyear  Tire  Company, 
the  Agricultural  College,  Northern  Pa- 
cific Railroad  and  many  other  sources. 
We  did  all  this  before  we  took  any 
pictures  of  our  own. 

Some  friends  en  route  from  Cali- 
fornia who  had  taken  several  reels  of 
film  asked  us  to  run  theirs  for  them. 
Other  people  came  from  different  places 
who  had  taken  films  but  had  no  pro- 
jector. We  were  surprised  how  good 
all  these  pictures  were,  and  were  tempt- 
ed to  try  to  take  some  ourselves. 

The  First  Home  Picture 

So  we  saved  gate  receipts  to  cover 
the  first  film.  We  took  our  Christmas 
party,  snow  scenes,  and  things  about 
home.  Needless  to  say  we  treasure  this 
picture,  and  it  was  all  good  stuff. 

Several  business  men  had  been  out 
to  see  my  shows  and  some  of  them 
suggested  that  they  would  pay  for  the 
film  if  I  would  take  some  pictures  of 
their  establishments.  I  went  to  see  six 
business  men.  I  offered  them  fifteen  to 
twenty  feet  of  film  for  $1  and  I  did 
not  get  turned  down  once. 

I  took  first  a  picture  of  the  front  of 
the  place  of  business,  then  some  activ- 
ity about  it,  and  some  close-ups  of  the 
manager  or  office  force.  I  had  the  Ford 
Agency,  the  Chevrolet  Garage,  Camp- 


U-Rest,  The  Mill,  Implement  Company, 
a  dairy,  and  an  auctioneer. 

These  customers  were  all  pleased  and 
their  film  runs  at  every  show.  Others 
planned  for  one  or  two  reels.  For  one 
company  I  took  "Men  About  Town"  to 
run  with  advertising  at  free  shows  dur- 
ing a  three  day  rodeo.  I  was  also  paid 
for  running  the  show.  This  film  gets 
a  big  cheer. 

Doing  Latin  Comedy 

I  have  been  called  to  take  pictures 
of  peach  orchards  in  color,  of  brand- 
ings on  big  ranches,  of  Sunday  schools, 
athletic  meets  and  of  political  candi- 
dates. Last  fall  I  got  a  trip  across  the 
state  to  film  state  candidates  for  one 
of  the  major  parties.  I  have  some  in- 
teresting film  of  Senator  Borah  both 
posed  and  candid,  as  he  was  riding 
at  a  rodeo. 

Since  I  have  my  8mm.  outfit  and  the 
films  are  less  expensive  many  women 
have  me  take  pictures  of  their  parties 
or  their  children. 

At  school  we  are  doing  a  real  pro- 


George  Oliver  Smith,  high  school  lad  of 
Weiser,  Idaho,  as  he  was  a  year  ago. 


duction — a  Latin  comedy,  and  the  Latin 
teacher  is  financing  the  film. 

I  now  have  so  much  film  of  local 
interest  that  I  hardly  ever  send  for 
rental  film.  "How  much  will  you  charge 
to  put  on  a  show?"  I  am  asked  almost 
every  week.  I  usually  charge  only  ex- 
penses as  I  would  rather  have  the  good 
will  of  the  people  than  try  to  make 
money  until  I  become  professional. 

Our  community  consists  of  only  about 
five  thousand  persons.  In  the  high  school 
there  are  500  students.  You  might  think 
there  would  be  little  of  interest  to  take 
in  the  way  of  pictures,  but  I  think  there 
is  plenty.  Near  Weiser  there  are  all 
kinds  of  wonderful  scenery,  of  mountains, 
lakes  and  canyons.  There  are  round-ups 
and  celebrations.  Then  there  is  Sun  Val- 
ley. (I  hope  to  get  there  some  day.) 

I  did  get  some  very  good  pictures  of 
President  Roosevelt  on  his  recent  trip 
through  the  state.  Another  high  school 
boy  and  I  cut  school,  and  by  having  a 
placard  "Press  Car"  on  the  side  of  his 
car  we  were  able  to  join  the  official  cara- 
van. 

Close-up  of  President 

It  stopped  at  the  prize  onion  field  in 
the  Parma  Valley  and  I  got  down  on  my 
knees  so  I  would  not  obstruct  the  Presi- 
dent's view  and  shot  some  good  close-ups 
of  him  waving  his  hand  out  over  the  field 
of  sacked  onions  saying,  "I  never  saw 
anything  like  it  in  my  life."  You  can 
almost  hear  him  say  it. 

Movies  of  the  high  school  bunch,  espe- 
cially track  meets,  games,  etc.  always 
pay  good  dividends. 

When  Wallace  Beery  visited  in  Weiser 
I  helped  run  some  of  his  pictures  that 
he  had  taken  at  the  Pendleton  Round 
Up  and  while  hunting.  He  is  quite  a 
home  movie  fan,  but  since  he  has  plenty 
of  money  and  he  doesn't  have  to  be 
careful  to  save  film,  he  takes  lots  of 
pictures  that  I  couldn't  afford  to  take. 

He  edits  out  the  parts  that  are  not 
so  good.  So  maybe  it  is  a  good  thing 
to  be  poor.  It  makes  one  more  selective 
in  taking  pictures.  One  learns  faster 
when  he  has  to  think  of  the  price  of 
each  foot  of  film. 

I  haven't  done  much  yet  compared  to 
what  I  intend  to  do,  but  I  have  had  so 
much  pleasure  with  so  little  expense  out 
of  my  movies  that  I  want  to  recom- 
mend them  as  a  profitable  and  enjoyable 
sport. 


40     American  Cinematographer     •     January,  1938 


Make-Up  Man  Can  Do  Much 
to   Help  Cinematographer 

(Continued  from  Page  13) 
all  made  up,  while  the  cinematographer's 
task  is  inuch  easier. 

I  hope  I  may  be  excused  for  men- 
tioning what  I  consider  a  real  achieve- 
ment in  corrective  make-up.  In  "The 
Life  of  Emile  Zola"  Paul  Muni's  char- 
acterization shows  Zola  at  a  numbsr  of 
ages  from  young  manhood  to  old  age. 
Putting  On  Weight 

In  the  early  sequences  he  plays  Zola 
at  a  time  when  he  weighed  approxi- 
mately Muni's  normal  weight  of  160 
pounds;  in  the  latter  part  of  the  pic- 
ture, Zola  has  aged  and  put  on  weight 
until  he  weighs  approximately  200 
pounds. 

When  these  scenes  were  made  Muni's 
weight  was  still  the  same — 160  pounds — 
and  no  cheek  distenders,  padded  make- 
up or  clothes  pads  were  used,  yet  he 
looked  a  convincing  200  pounds  on  the 
screen.  This  result  was  achieved  simply 
by  an  elaboration  of  the  fundamental 
process  of  corrective  make-up. 


Corrective  make-up  has  been  applied 
with  equal  success  to  Technicolor  make- 
up. The  procedure  is  fundamentally  the 
same,  though  we  use  a  special  color 
make-up  we  designed  ourselves,  as  we 
were  not  satisfied  with  anything  com- 
mercially available. 

For  a  color  make-up,  however,  we 
berin  by  studying  the  player's  face 
under  a  blue-green  mercury  vapor  lamp. 

Tl.is  of  course  shows  up  any  discolora- 
tions  of  the  skin,  even  many  little 
blotches  invisible  to  the  eye.  These  are 
concealed  by  applying  a  neutral  gray 
grease-paint,  after  which  we  can  bu'ld 
the  color  make-up  in  the  usual  manner. 

It  may  be  mentioned  that  we  have 
found  it  neces.sary  to  make  a  fix^d  rule 
that  feminine  players  appearing  in 
Technicolor  pictures  must  not  wear  o'-di- 
nary  lipstick  at  any  time  while  they 
are  on  a  color  film. 

Rouge  Limitations 

The  reason  for  this  is  that  all  lip 
rouges  for  street  wear  contain  a  defi- 
nite amount  of  blue  pigment,  invisible 
to  the  eye,  but  painfully  visible  to  the 
color   camera.     These    lip   rouges  are 


also  of  the  indelible  variety;  they  can- 
not be  removed,  as  can  ordinary  make- 
up, by  cold  cream  and  washing.  The 
pif  ment  must  wear  off. 

W»;  have  found  that  even  after  sev- 
eral days  during  which  no  su^h  rou^e 
is  applied  there  is  still  enouf;h  of  this 
blue  pigment  remaining  to  show  throu'jh 
the  Technicolor  make-up  and  give  the 
lips    a    bluish    cast    in    the  picture. 

Therefore,  no  actress  in  a  Technicolor 
film  at  our  studio  is  allowed  to  wear 
ordinary  lip  rouge  for  her  social  make- 
up away  from  the  studio.  Instead,  we 
provide  a  special  pure  pigment  lip  rouge 
for  street  wear.  It  is  not  indelible,  but 
this  minor  inconvenience  is  offset  by  the 
improved  appearance  of  the  player. 

Mentioning  purity  of  pigments  brings 
to  mind  the  matter  of  so-called  "make- 
up poisoning".  There  is  actually  no  such 
thing.  The  ingredients  of  any  of  the 
really  standard  theatrical  make-up  prep- 
arations are  absolutely  non-injurious. 

Occasionally,  however,  you  will  find 
an  individual  with  an  unusually  sensi- 
tive skin,  whose  bodily  chemistry  may 
be  susceptible  to  some  component — base 
or  pigment — of  the  make-up.  In  that 
case,  we  carefully  study  that  individ- 
ual's skin,  and  we  have  always  been  able 
to  compound  a  suitable  make-up. 
Hits  One  in  Ten 

The  rat'o  seems  to  be  about  one  in 
ten  so  effacted;  I  have  several  times 
made  tosts,  giving  ten  girls  a  make-up 
preparation  for  use,  and  studying  their 
reactions.  U"ually  nine  of  the  ten  would 
use  the  product  with  no  ill  result. 

This,  incidentally,  does  not  apply  to 
the  so-called  "gold  flour"  make-ups  some 
stars  have  lately  tried.  These  make- 
ups are  dofinitely  not  safe.  The  tiniest 
little  scratch  or  open  skin  blemish  of- 
fers the  tiny  metallic  particles  an  op- 
portunity to  enter  the  system,  where 
they  can  and  do  cause  the  very  serious 
skin  malady  knowTi  as  dermatitis. 

In  addition,  it  is  highly  doubtful  if 
these  make-u^s  really  enhance  the  ap- 
pearance of  the  wearer,  and  I  feel  cer- 
tain they  add  to  the  troubles  of  the 
cinematographer. 

In  conclusion,  I  hope  that  my  remarks 
may  in  some  way  help  to  give  camera- 
men a  better  understanding  of  what 
make-up  artists  are  striving  for.  It  is 
only  as  both  cinematographer  and  make- 
up artist  learn  to  understand  each  oth- 
er's aims  and  problems  that  true  co- 
operation can  be  established;  and  there 
are  few  other  phases  of  production  in 
which  such  cooperation  is  as  desirable, 
for  after  all  both  cameraman  and  make- 
up artist  aim  at  the  same  goal — develop- 
ing and  enhancing  the  screen  personal- 
ities of  all  players. 


Fred  C.  Ells,  internationally  knowTi 
amateur  cinematographer,  in  a  recent 
note  to  the  editor  of  this  magazine 
transmits  welcome  word  that  "I  trust 
from  time  to  time  I  shall  have  occasion 
to  furnish  you  news  of  the  not  incon- 
siderable body  of  Japanese  amateurs 
for  whom  I  am  liaison  officer  to  the 
English  and  American  amateur  movie 
magazines." 


Here  are  Tyrone  Power  and  Alice  Faye,  two  of  the  leading  players  in  Twentieth 
Century-Fox's  "In  Old  Chicago,"  in  which  Peverell  Marley  was  director  of  photog- 
raphy. The  still  was  photographed  by  Eugene  Kornman. 


January,  1938      •      American  Cinematographer  41 


HERE^S  THE  ANSWER 


Lighting  in  ''Garden  of  Allah" 

IN  your  issue  of  January,  1937,  there 
is  an  article  on  "How  to  Shoot 
Kodachrome  Light  Effects,"  by  Har- 
old Rosson,  A.S.C.  In  one  paragraph  it 
is  stated  one  of  the  most  effective  scenes 
in  "The  Garden  of  Allah"  was  one  where 
Charles  Boyer  admits  to  his  wife  he  is 
a  renegade  monk.  In  this  scene  his  face 
is  strongly  illuminated,  against  a  sky 
lighted  by  a  setting  sun.  Will  you 
please  tell  me  if  it  was  the  sun  or  arti- 
ficial lighting  that  caused  the  illumina- 
ticn  on  the  face  ? 

I.  L.  M.,  Taft,  Calif. 
We  discussed  this  same  matter  with 
Mr.  Rosson  at  the  time  the  article  to 
which  you  refer  was  written.  The  scene 
in  question  was  done  on  the  studio  stage, 
by  artificial  light.  The  background  was 
a  painted  drop,  painted  very  carefully  to 
match  actual  Technicolor  scenes  made 
on  the  desert  location  near  Yuma,  Ari- 
zona. 

The  lighting  was  effected  by  the 
arc  lighting  equipment  specially  devel- 
oped by  Mole-Richardson  for  Technicolor 
lighting.  These  lamps  give  an  absolute- 
ly colorless  white  light  of  high  intensity, 
absolutely  identical  with  the  spectral 
distribution  of  normal  daylight,  which 
makes  it  possible  to  shoot  color  interi- 
ors and  exteriors  without  any  change 
in  cameras,  film  or  processing. 

In  sub-standard  filming  with  Koda- 
chrome, this  is  of  course  impractical,  so 
the  Type  A  Kodachrome  film  was  de- 
vised. This  has  a  specially  modified 
color  sensitivity  to  offset  the  light  of 
Photoflood  lamps,  which,  to  the  color 
film,  is  much  redder  than  natural  day- 
light. Effects  similar  to  the  one  you 
mention  can  be  made  indoors  with 
Photoflood  lighting  and  Type  A  Koda- 
chrome film. 

Meters  and  Speeds 

I  am  planning  to  purchase  an  ex- 
posure meter  soon,  but  before  doing  so 
I  would  like  to  have  the  following  ques- 
tions answered: 

1.  What  is  the  definition  of  "film 
speed  ?" 

2.  What  is  the  definition  of  correct 
exposure  ? 

3.  How  can  I  determine  the  film  speed 
of  any  film  at  home  ? 

4.  If  the  speed  of  a  film  is  20  and 
the  film  is  hypersensitized  to  double  its 
speed,  will  the  film  speed  then  be  40? 

5.  What  is  the  difference  between  the 
Weston  and  Scheiner  ratings? 

6.  How  can  I  change  from  Weston  to 
Scheiner  ratings  and  vice  versa? 

7.  What  are  the  different  types  of 
exposure  meters  and  their  advantages? 

8.  I  understand  there  is  a  campaign 
under  way  to  request  the  film  manu- 
iacturers   to   place  the   film   speed  on 


the  box  in  which  the  film  is  sold.  I 
would  like  to  say  I  am  in  favor  of  such 
a  plan. 

C.  P.,  Long  Island  City. 

Without  going  into  unnecessarily 
tschnical  detail,  "film  speed"  can  be 
simply  defined  as  a  quantative  measure 
of  that  film's  overall  sensitivity  to  light. 
There  are  many  other  factors  to  be 
considered,  however,  in  addition  to  over- 
rll  sensitivity. 

The  film's  sensitivity  to  light  of  vari- 
ous colors  is  equally  important  in  reach- 
ing a  usable  final  figure,  and  so,  too, 
is  the  color  of  the  light  used  to  make 
an  exposure.  That,  for  example,  is  why 
the  Weston  engineers  establish  one 
speed  rating  for  daylight,  which  is  a 
uniform  mixture  of  light  rays  of  all  col- 
ors, and  another  for  incandescent  (Maz- 
da) light,  which  is  deficient  in  blue  and 
ultra-violet,  and  strong  in  yellow,  orange 
and  red. 

The  processing  or  developing  is  yet 
another  variable  which  affects  film 
speed.  This  can  be  proved  by  making 
a  correct,  metered  exposure  on  a  given 
film,  then  cutting  the  film  into  three 
pieces,  each  of  which  is  developed  with 
a  different  developer. 

Film  Sensitivity  and  Meter 

If,  for  instance,  Eastman's  D-72  form- 
ula is  considered  the  normal  agent  for 
developing  that  film,  the  section  devel- 
oped in  it  would  give  a  normal  expo- 
fure  result;  a  section  developed  in  a 
fine-grain  solution  like  most  of  the 
paraphenylene-diamine  formulae  would 
give  an  apparently  underexposed  result; 
while  a  section  developed  in  a  third 
solution  might  well  give  an  overexposed 
result. 

Another  factor,  perhaps  the  most  vi- 
tally important  in  the  practical  work  of 
the  average  camerist,  is  the  relation  of 
the  film's  sensitivity  to  that  of  the 
meter.  The  familiar  Weston  speeds,  for 
example,  are  calculated  with  direct  ref- 
erence to  the  color  sensitivity  and  the 
overall  sensitivity  of  the  Weston  pho- 
tronic  cell  used  in  that  meter. 

If  it  were  possible  to  replace  the 
Weston  cell  with  a  different  type  of 
photoelectric  eye,  any  given  Weston 
film  speed  rating  might  very  probably 
be  very  considerably  inaccurate  due  sim- 
ply to  the  meter's  changed  color-sensi- 
tivity. 

Correct  Exposure 

Correct  exposure  may  most  easily  be 
defined  as  that  exposure  which  places 
the  extremes  of  highlight  and  shadow 
within  the  characteristic  exposure  limits 
of  the  film;  in  other  words,  which  places 
the  highlights  at  such  an  exposure  point 
that  they  are  not  "blocked"  or  over- 
exposed, and  the  extreme  shadows  ex- 
posed so  they  will  retain  ample  detail 


rather  than  being  merely  areas  of  no 
exposure. 

■The  extent  to  which  exposure  can  be 
varied  up  and  down  while  still  keeping 
the  exposure  extremes  within  these  lim- 
its is  known  as  latitude.  In  the  aver- 
age modern  film  this  may  allow  very 
considerable  leeway;  often  an  exposure 
range  between  shadow  and  highlight  ex- 
tremes of  1:128  is  possible,  while  the 
brightness  range  of  these  extremes  in 
average  pictures  is  seldom  as  great. 

As  has  been  mentioned,  correct  ex- 
posure is  relative,  depending  to  a  great 
extent  upon  the  developing  or  processing 
of  the  film. 

Determining  Film  Speeds 

There  are  many  scientific  methods  of 
determining  film  speeds,  but  the  prac- 
tical camera  user  is  of  course  most 
interested  in  obtaining  a  speed-value 
workably  related  to  the  meter  he  uses. 
For  this,  the  simple  method  of  trial  and 
error  is  probably  the  most  practical. 

Make  an  exposure  using  a  value  you 
think  should  be  approximately  correct; 
then  make  several  more  exposures  under 
identical  conditions,  using  values  higher 
and  lower  than  this.  Give  the  exposures 
identical  processing.  The  results  will 
show  you  what  speed  is  right.  In  using 
sub-standard  reversal  cine  film  it  is  a 
good  idea  to  ask  the  laboratory  not  to 
make  any  attempt  to  equalize  your  ex- 
posures in  their  processing. 

However,  speaking  generally,  there  is 
very  little  real  need  to  make  such  ex- 
periments yourself,  since  the  Weston 
company  each  year — sometimes  oftener 
— issues  a  folder  listing  the  Weston 
speeds   of   all   available  materials. 

The  current  one  lists  more  than  187 
different  types  of  films  and  plates  for 
cine  miniature  camera  and  still  photog- 
raphy, including  37  types  of  reversal 
and  negative-positive  16mm.  and  8mm. 
cine  film  and  8  types  of  natural  color 
processes. 

Speeds  and  Hypersensitizing 

Granting  that  the  method  of  hyper- 
sensitization  you  use  does  not  alter  the 
film's  color  balance,  your  assumption 
would  hold  true.  If,  as  is  generally  the 
case,  hypersensitization  does  upset  this 
color  sensitivity  balance,  the  hypersen- 
sitized film  speed  would  not  necessarily 
be  the  numerical  double  of  the  original 
value. 

Hypersensitizing  almost  invariably  in- 
creases red  sensitivity  more  than  that 
to  any  other  color,  so  if  you  hyper- 
sensitized an  emulsion  originally  sensi- 
tive only  to  blue,  you  would  merely 
make  it  more  nearly  panchromatic,  and 
the  overall  speed  increase  would  be 
very  small. 

If,  on  the  other  hand,  you  first  pan- 
chromatized  the  film,  and  then  hyper- 


42     American  Cinkmat()(;raphku  • 

sensitized  it,  or  used  a  panchromatic 
emulsion  to  start  with,  the  meter  speed 
increase  would  be  much  greater.  For 
exact  details,  the  makers  of  the  meter 
you  use  and  of  the  film  you  hypersen- 
sitize  will  be  glad  to  tell  you  exactly 
what  meter  speed  to  use  in  your  spe- 
cific case. 

Weston  and  Scheiner  Speeds 

The  Scheiner  speeds,  in  common  witli 
Din  and  H&D  speeds,  are  fundamentally 
based  on  sensitometric  measurements; 
the  Weston  speeds  are  based  on  the 
response  of  the  Weston  photronic  cell. 
The  Scheiner  speeds,  therefore,  are  not 
precisely  adjusted  to  practical  use  with 
any  specific  meter,  though  a  number 
of  meters  (especially  foreign  ones)  are 
calibrated  to  work  more  or  less  effective- 
ly with  Scheiner  speed-ratings. 

In  general,  while  in  the  Weston  sys- 
tem the  numerical  value  of  the  speed- 
rating  is  doubled  to  indicate  doubled 
film  sensitivity,  in  the  Scheiner  system 
an  increase  of  3  in  the  rating  Indicates 
doubled  speed.  Thus  in  the  Weston  sys- 
tem, if  a  given  film  has  a  speed  of 
20,  one  twice  as  fast  will  be  rated  at 
40;  in  the  Scheiner  system,  if  a  film  is 
rated  at  Scheiner  20  (which  is  not  the 
same  as  Weston  20),  one  twice  as  fast 
will  have  a  speed  of  Scheiner  23. 

Further,  many  meters  and  meter- 
equipped  cameras  purchased  abroad  and 
brought  into  this  country  by  individuals 
(as  against  models  made  specially  for 
use  in  America)  will  be  calibrated  for 
a  sub-variation  of  the  Scheiner  system 
calling  for  yet  different  settings:  this 
is  usually  6  degrees  higher  than  is  the 
case  for  meters  built  for  the  American 
market. 

For  example,  many  Contaflexes  pur- 
chased abroad  are  calibrated  so  that  for 
a  given  film  one  must  use  a  speed  rat- 
ing of  26,  as  against  an  American-cali- 
brated setting  of  20. 

Here  is  the  Weston  Company's  pub- 
lished table  for  correlating  Weston  and 
Scheiner  speeds,  which,  they  point  out, 
is  strictly  accurate  only  for  emulsions 
having    closely    similar  characteristics. 


Scheiner" 

Din° 

H&D 

Weston 

14 

7/10 

159 

3 

15 

8/10 

200 

4 

16 

9/10 

252 

5 

17 

10/10 

318 

6 

18 

11/10 

400 

8 

19 

12/10 

504 

10 

20 

13/10 

635 

12 

21 

14/10 

800 

16 

22 

15/10 

1000 

20 

23 

16/10 

1270 

24 

24 

17/10 

1600 

32 

25 

18/10 

2020 

40 

26 

19/10 

2540 

50 

27 

20/10 

3200 

64 

The  manufacturers  of  the  Photoscop 
meter  publish  an  excellent  little  booklet 
which  discusses  this  question  in  detail. 
It  is  obtainable  from  the  distributors 
and  from  most  photographic  dealers  for 
a  nominal  price. 

Meter  Types 
To  detail  all  the  meter  types  would 
require  more  space  than  is  here  avail- 
able. In  general,  disregarding  the  so- 
called   meters   which   are   simply  gen- 


.lanuary,  1938 

eralized  charts,  there  are  three  prin- 
cipal types:  those  which  measure  the 
light  by  its  action  in  a  given  time  upon 
a  standard  light  sensitive  material,  usu- 
ally a  sensitized  paper;  those  which 
compare  the  light  with  a  standard  light 
or  with  a  graduated  scale;  and  those 
which  measure  either  the  light  reflected 
from  the  subject  or  from  a  built-in  white 
surface  or  "artificial  highlight"  by 
means  of  a  photoelectric  cell. 

Examples  of  the  first  class  include 
the  Watkins  meter;  of  the  second.  Bell 
&  Howell's  photometer;  the  third,  the 
Weston,  and  Photoscop  meters  for  the 
first  type,  and  the  Smethurst  Avo  for 
the  second. 

While  we  cannot  of  course  recom- 
mend any  specific  meter  here,  it  is  pretty 


g  Enlarged       ^  Reduced  g 
Geo.  W.  Colburn  Laboratory 

Special  Motion  Picture  Printirn; 
1197  MERCHANDISE  MART 
CHICACO 


KODACHROME 

DUPLICATES  ItZ: 

STITH  NOBLE  CORP. 

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Capacity  1,200  feet  to  2,000  feet 
per  hour 

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1436  North  Beachwood  Drive 
Hollywood,  California 


CRAIG 

SPLICER  and  REWINDS 


CRAIG  JUNIOR  COMBINATION  $8.50 

Junidr    Splicer    with    two    geared  rewinds 
all  mounted  on  21"  board. 

CRAIG  MOVIE  SUPPLY  CO. 

1053  So.  Olive  St.  Los  Angeles,  Calif. 


generally  C(;nceded  that  the  more  au- 
tomatically the  meter  itself  measures 
the  actual  light  from  the  subject  and 
the  less  it  relies  upon  the  human  ele- 
ment in  visually  comparing  densities, 
illumination  and  the  like,  the  more  ac- 
curate it  is  likely  to  be. 

Film  Speeds  on  Cartons 

We  agree  with  you  that  it  would  be 
of  practical  advantage  to  the  user  if 
the  manufacturers  could  be  persuaded  to 
put  the  film  speed  ratings  of  their  prod- 
ucts on  the  boxes. 

But  practical  considerations  seem  to 
put  the  realization  of  this  in  some  dis- 
tant photographer's  Utopia. 

In  addition,  some  manufacturers  are 
disinclined  to  place  the  stamp  of  their 
approval  on  any  arbitrary  system,  due 
to  the  number  of  variables  involved. 
Finally,  there  will  always  be  some  man- 
ufacturers who  will  be  overoptimistic 
about  their  own  products;  a  dozen  or 
fifteen  years  ago  many  manufacturers 
of  plates  and  films  publicized  the  H&D 
speeds  of  their  products,  and  some  of 
these  zealots  overdid  it  by  favoring 
their  pet  products:  it  proved  most  dis- 
concerting to  the  user  to  buy  a  box  of 
plates  the  manufacturer  of  which  meas- 
uring the  speed  under  special,  extra  fa- 
vorable conditions,  might  publish  a  rat- 
ing of,  say,  1700  for  a  product  which  in 
normal,  practical  use  could  not  be  fair- 
ly rated  above,  say,  800  or  1000! 


Ray  June  Names  Committee 

Ray  June,  as  chairman  of  the  photo- 
graphic section  of  the  Technicians 
Branch  of  the  Academy  of  Motion  Pic- 
ture Arts  and  Sciences,  has  appointed 
the  following  committee  to  consider  any 
changes  in  the  rules  governing  the  cam- 
era award  which  may  seem  desirable  for 
this  year. 

Ray  June,  chairman;  John  Arnold, 
Joseph  August,  Norbert  Brodine,  Ed- 
ward Cronjager,  Arthur  Edeson,  George 
Folsey,  Fred  Gage,  Merritt  Gerstad, 
Byron  Haskin,  C.  Roy  Hunter,  Thomas 
Ingman,  Charles  B.  Lang,  Jr.,  George 
B.  Meehan,  Jr.,  Virgil  Miller,  Victor 
Milner,  Ira  Morgan,  J.  M.  Nickolaus,  L. 
William  O'Connell,  George  Robinson, 
Roy  Seawright,  George  Seid,  Karl 
Struss,  John  Swain,  Allen  Thompson, 
Joseph  Valentine,  Joseph  Walker,  Ver- 
non Walker,  Ray  Wilkinson  and  Gordon 
S.  Mitchell,  manager  of  the  Academy 
technical  bureau. 


Books  Received 

"Photographic  Hints  and  Gadgets." 
Edited  by  Frank  R.  Fraprie  and  Frank- 
lin I.  Jordan.  American  Photographic 
Publishing  Company.  Boston:  1937. 
S3. 50.  316  pp.  250  articles  and  nearly 
500  illustrations. 

"Film  and  School."  A  handbook  in 
Moving  Picture  Evaluation.  By  Helen 
Rand  and  Richard  Lewis.  A  publication 
of  the  National  Council  of  the  Teachers 
of  English.  D.  Appleton-Century  Com- 
pany Inc.  New  York:  §1.12.  192  pp.  57 
illustrations. 

These  two  volumes  will  be  reviewed 
in  the  February  issue. 


January,  1938 


American  Cinematographer  43 


True  Stereoscopy 
and  Its  Requirements 

(Continued   from   Page  14) 

a  picture  from  a  series  of  positions  in 
an  arc  around  the  object  and  showing 
these  so  shielded  by  a  vertical  grid  that 
the  observer's  right  eye  sees  a  series  of 
veitical  strips  composing  the  right-eye 
picture  only  and  his  left  eye  sees  another 
series  composing  only  the  left-eye  pic- 
ture. 

Certain  viewing  positions  for  this  type 
of  work  are  unsuitable,  and  taking  the 
pictures  is  difficult.  Registration  of  the 
strips  in  such  a  pattern  must  be  ex- 
tremely accurate,  and  it  is  difficult  to 
get  the  required  detail  for  each  picture. 
Not  Practicable 

All  these  considerations  militate 
against  its  ever  being  of  broad  commer- 
cial usefulness.  Objects  can  be  photo- 
graphed in  the  laboratory  and  shown 
there,  however,  and  the  results  stand 
as  a  testimonial  to  Ives's  careful  work 
and  to  his  ingenuity. 

The  second  general  technic  of  stereo- 
scopic reproduction  involves  the  use  of 
filters  so  chosen  that  with  a  stereoscopic 
pair  of  pictuies  made  visible  respectively 
in  two  kinds  of  light,  each  eye  sees  only 
the  picture  intended  for  it.  This  method 
divides  into  the  use  of  complementary 
colors  and  the  use  of  polarization. 

Using  red  and  green  glasses,  Norling 
and  Leventhal  have  produced  the  ex- 
tremely entertaining  series  of  pictures 
known  to  the  public  as  "audioscopics."  In 
France,  Lumiere,  of  color-plate  fame, 
utilized  two  colors,  in  his  case  yellow  and 
blue,  to  produce  stereoscopy  in  motion 
pictures.  It  seems  that  the  possibilities 
of  this  type  of  showing  have  been  pretty 
thoroughly  exploited. 

The  disadvantages  are  three:  (1)  When 
two  colors  are  used  to  produce  stereo- 
scopy, there  is  bound  to  be  retinal  rivalry 
between  the  eyes,  especially  in  viewing 
large,  clear  areas  such  as  of  the  sky 
or  water;  and  it  is  doubtful  whether  long 
presentations  (that  is,  longer  than  ten 
or  fifteen  minutes)  can  be  watched  by  a 
normal  audience  without  some  eye  strain. 
Niceties  Absent 

2)  Many  authorities,  of  whom  Tro- 
land  is  one,  say  that  such  anaglyphs 
produce  special  separations  suggesting 
the  flats  in  stage  scenery.  They  do  not 
produce  rotundity  or  solidity;  that  is, 
the  niceties  of  stereoscopic  sensation 
seem  to  be  absent. 

(3)  Such  a  use  of  color  to  produce 
stereoscopy  precludes  the  use  of  varied 
color  in  the  pictures  themselves  to  en- 
hance the  suggestion  of  reality. 

With  the  method  depending  upon 
polarization,  work  was  done  by  Anderton 
as  far  back  as  1893.  Using  piles  of 
glass  plates,  he  showed  that  three-di- 
mensional pictures  obtained  by  this 
method  were  a  laboratory  possibility;  but 
his  necessary  use  of  glass  plates  made 


them  economically  and  practically  an  im- 
possibility. 

With  the  advent  of  Polaroid,'  the 
thin  polarizing  sheeting  that  can  econom- 
ically be  produced  in  large  areas,  there 
has  been  a  new  interest  in  the  field.  Pro- 
fessor Kennedy  of  Smith  College,  at 
the  request  of  the  Carnegie  Corporation, 
has  been  for  the  past  two  years  studying 
its  use  in  the  serious  study  of  sculpture 
and  art  in  general.** 

Among  others  working  in  the  field  at 
present  are  Professor  Roulon  at  Harvard 
and  Professor  Rule  at  the  Massachusetts 
Institute  of  Technology. 

The  present  is  an  auspicious  time  to 
consider  the  motion  picture  field  and  the 
subject  of  stereoscopic  motion  pictures. 
Color  movies  are  today  better  than  ever 
before  and  show  promise  of  still  greater 
improvement.  Polaroid  is  now  available, 
and  this  permits  for  the  first  time  color 
movies  in  three  dimensions. 

There  is  considerable  laboratory  evi- 
dence to  indicate  that  the  ordinary  run 
of  color-film,  where  stereoscopic,  is  con- 
siderably more  effective  than  the  best 
single-eye  color  pictures. 

Stereoscopic  Color  Effective 

Kennedy'  points  out  several  good  rea- 
sons: (1)  In  nature  the  respective  high- 
lights are  in  slightly  different  positions 
for  the  two  eyes.  This  is  part  of  our 
natural  impression  of  the  world.  (2)  An 
effect  is  produced  upon  any  object  by  the 
kind  of  light  illuminating  the  object. 

To  give  an  example,  suppose  we  have 


GOERZ: 


KINO-HYP  AR 
ANASTIGMATS 

are  LENSES  made 

in  focal  lengths  from  15mm  to 
100mm  that  can  be  fitted  in  suit- 
able focusing  mounts  to  Ama- 
teur and  Professional 

MOVIE  CAMERAS 

They  give  microscopic  definition 
and  the  resulting  image  has  re- 
markable brilliance  and  crisp- 
ness.  '  fffi 

CINEMATIC 

ACCESSORIES 

such  as  Effect  and  Trick  De- 
vices, Vignetters,  etc.,  have  been 
our  specialty  for  years. 

The 

GOERZ  REFLEX  FOCUSER 

and  the  VARIABLE  FIELD 
VIEW  FINDER  are  precision 
instruments  useful  in  MOVIE 
MAKING. 

Address  DEPT.  A  C  1 
C.  P.  GOERZ  AMERICAN 
OPTICAL  COMPANY 

317  E.  34th  St.,  New  York,  N.  Y. 


a  statue  of  pink  or  black  marble  in  a 
room  in  which  the  color  is  predominant- 
ly green.  In  such  a  case,  one  will  have 
not  white  reflections,  but  green  reflec- 
tions. 

Now  this  experience  is  common,  and 
our  eyes  are  able  to  remove,  as  it  were, 
the  green  reflections  from  the  pink 
marble  and  see  the  marble  as  it  really  is, 
whereas  one  is  unable  to  do  so  with  a 
single  picture  of  such  a  pink  marble 
statue  on  which  there  is  a  green  reflec- 
tion. 

This  is  a  good  experimental  reason 
why,  no  matter  how  good  color  reproduc- 
tion may  become,  there  always  will  be 
dissatisfaction  in  the  representation  of 
colored  objects  by  non-stereoscopic  "flat" 
movies.  All  objects  have  to  be  illumi- 
nated, and  from  all  surfaces  there  is 
more  or  less  reflection  of  such  illumina- 
tion. Gold  and  luminous  objects  general- 
ly have  been  the  despair  of  color  photog- 
raphers. 

This  again  is  partly  due  to  the  fact 
that  these  are  essentially  two-eye  phe- 
nomena, the  lighting  and  color  effects  in 
one  eye  differing  from  those  in  the  other 
in  actual  viewing. 

Considerable  advance  has  been  made  in 
devices  for  taking  and  showing  stereo- 
scopic pictures  on  a  single  film,  and  pres- 
ent experiments  are  very  promising. 
Learn  Limitations 

There  are,  very  naturally,  some  prob- 
lems to  be  cleared  up.  Photographers 
need  to  learn  (1)  limitations,  or  what 
they  should  not  expect  to  do  with 
stereoscopy  and  (2)  still  more  important, 
what  its  use  means  in  opening  up  new 
possibilities — in  other  words,  the  tech- 
nic of  using  this  new  tool. 

There  is  some  evidence  to  show  that 
a  new  sense  of  space  must  be  acquired 
and  a  much  more  painstaking  and 
thorough  use  of  the  fact  that  space  is 
now  an  ally,  not  something  to  be  avoided 
or  faked.  The  color  possibilities  deserve 
very  careful  study,  and  undoubtedly  a 
new  lighting  technic  will  be  needed  to 
supplement  what  is  already  known  and 
being  used. 

In  particular,  this  is  a  very  powerful 
tool  for  greater  reality  in  close-ups. 
What  were  flat  surfaces  now  become 
solid,  plastic  objects.  Stereoscopy  pro- 
vides the  ideal  medium  for  rendition  of 
shades,  the  finest  wrinkle,  the  texture  of 
the  skin — all  the  niceties  that,  summed 
up,  create  the  impression  that  one  would 
actually  have  if  he  were  really  experienc- 
ing a  close-quarters  reaction  to  the 
actress  or  actor. 

In  all  probability,  many  long  and  mid- 
dle-distance shots  that  were  previously 
required  to  give  the  sense  of  space  will 
now  become  unnecessary.  Conversely, 
many  long  shots  that  had  to  be  avoided 
because  of  the  difficulty  of  showing  the 
actual  space  involved  will  now  be  a  pos- 
sibility to  the  picture  technician. 

All  in  all,  it  presents  a  very  interest- 
ing and  exciting  medium  for  imaginative 
workers  to  utilize. 

These  are  the  problems  and  interests 
of  picture  taking.    Theaters  will  need 


44     American  Cinematographer 


January,  1938 


CLASSIFIED  ADVERTISING 


to  know  any  changes  in  the  method  of 
projection  that  may  be  necessary.  Fortu- 
nately, these  appear  to  be  slight;  and, 
in  general,  where  single-picture  projec- 
tion was  really  satisfactoiy,  stereoscopic 
projection  will  with  small  modification 
be  similarly  satisfactory. 

Solved  by  Lumiere 

As  in  the  case  of  single-picture  i)rojec- 
tion,  there  is  a  best  viewing  position. 
The  area  around  this  position  in  which 
viewing  is  still  excellent  is  at  least  as 
large  for  stereoscopic  as  for  ordinary 
pictures.  The  final  problem  lies  in  the 
distribution  of  glasses  and  their  pos- 
sible reuse. 

Lumiere  in  France  has  apparently  suc- 
cessfully solevd  this  problem  through  the 
sale  of  expensive  glasses  to  those  who 
wish  to  use  them  and  own  them  perma- 
nently, and  the  loan  of  cheaper  glasses 
that  are  taken  back  after  each  perform- 
ance and  sterilized. 

At  the  New  York  Museum  of  Science 
and  Industry,  where  four  presentations 
of  stereoscopic  movies  are  held  daily,  it 
has  been  found  thoroughly  practicable 
to  take  back  the  glasses  and  use  them 
over  and  over  again,  with  a  disinfecting 
treatment  after  each  such  use. 

(After  all,  the  utensils  we  use  daily 
in  restaurants  and  other  public  places 
constitute  a  similar  problem  in  anti- 
sepsis). 

When  35-mm.  color  motion  pictures  are 
taken  with  the  proper  technic  and  pro- 
jected full-size  upon  a  large  scieen,  the 
result  to  the  observer  will  be  living 
movies.  The  audience  will  be  sitting  at 
a  window  and  seeing  the  actual  scenes 
and  the  living  actors  as  if  present  in  the 
scene.  The  screen  disappears;  one  is  no 
longer  conscious  of  looking  at  a  flat  sur- 
face. 

Three  Fundamentals 

Objects  stretch  back  from  the  frame 
of  the  screen  to  infinity  and  can  even  be 
made,  if  desired,  through  a  known  tech- 
nic in  taking  the  picture,  to  come  right 
out  of  the  screen  toward  the  audience. 

Through  light  we  receive  probably  85 
per  cent  of  our  external  impressions  of 
the  world,  and  there  are  three  funda- 
mental principles  in  its  use.  The  first, 
two-color  and  intensity,  have  long  been 
with  us.  The  third,  polarization,  is  be- 
ing made  practical  for  the  first  time 
through  Polaroid,  the  invention  of  E.  H. 
Land  of  Boston. 

Ordinary  light  can  be  said  to  vibrate 
in  all  directions  at  right-angles  to  the 
direction  in  which  it  is  traveling.  Polar- 
oid is  made  up  of  a  multitude  of  sub- 
microscopic  crystals,  each  having  polar- 
izing properties,  all  lined  up  perfectly 
and  immovably  imbedded  in  a  transpar- 
ent sheet. 

The  effect  of  these  crystals  is  to  ab- 
sorb vibrations  along  one  of  their  axes. 
Such  alterations  of  light  are  not  obvious 
to  the  viewer  unless  we  have  a  second 
piece  of  Polaroid  with  which  to  observe 
it.  However,  if  a  second  sheet  of  Polar- 
oid is  placed  in  front  of  the  lighted  area, 
all  goes  dark  when  the  axes  are  crossed 
or  light  when  the  axes  are  parallel. 


FOR  SALE 

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&  HOWELL  170°  CAMERAS—rebuilt  B  &  H 
sound  printers;  .Schusteck  step  printers;  rebuilt 
Duplex  sound  and  picture  printers  ;  200  ft. 
Stinemann  developing  reels  ;  complete  portable 
laboratory  ;  used  measuring  machines  ;  pair  used 
Simplex  portable  sound  projectors  with  2000 
ft.  manazines.  Used  Mitchell  cameras.  Fearless 
Blimps,  complete  Akeley  camera  equipment. 
Bell  &  Howell  1000  ft.,  400  ft.  maKazine<i. 
Motors,  .sunshades,  finders,  lenses  and  all  acces- 
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Gear  Boxes,  LiKht  Testers,  Projection  and  LiKht- 
intr  Etiuipment.  Guaranteed  optically  and  me- 
chanically perfect.  Send  for  1937  Bargain 
CataloBue.  Hollywood  Camera  Exchange.  1600 
Cahuenga  Blvd.,  Hollywood.  California.  Cable 
Hocamex. 


DEBRIE  CAMERA.  Parvo,  8  macazines,  tripod 
and  cases,  $1200.00  cost,  will  sell  for  $200.00 
almost  new,  bargains  in  16-35mm  cameras.  We 
Buy  Anything.  Block  Camera— 154  E.  47th  St., 
New  York. 


SILENCED  Standard  Mitchell  Camera,  40.  r,().  75 
mm.  Pan  Tachar  Astro  lenses  ;  upright  Mitchell 
finder;  two  1000-foot  magazines  or  four  400- 
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head  and  cases ;  perfect  mechanical  condition. 
FAXON  DEAN.  INC.,  4516  Sunset  Bnulevanl. 
Hollywood,  Calif. 


(Incidentally,  when  a  cellophane  de- 
sign is  placed  between  the  two  pieces 
of  Polaroid,  this  coloiless,  transparent 
material  lights  up  with  colors  that  can 
be  reproduced  at  will  and  that  are  perma- 
nent; and  as  the  front  Polaroid  screen  is 
rotated,  the  colors  gradually  change  to 
their  complementary  opposites.  For  the 
first  time  it  is  possible  to  have  large  de- 
signs or  plain  colored  areas  that  are 
changeable  at  will,  permanent,  and  re- 
producible.) 

Testing  It  Out 

Now,  if  the  front  Polaroid  screen  be 
removed  and  the  observer  puts  on  his 
Polaroid  glasses  his  left  eye  sees  the 
screen  clearly;  the  right  eye  view  is 
dark.  If  he  tilts  his  head  far  over  to 
the  side,  or  removes  the  glasses  and  holds 
them  vertically,  he  will  see  that  now 
the  right  eye  is  transparent  and  the  left 
eye  dark. 

When  taking  the  picture  no  such  ma- 
terial was  used.  This  same  device  used 
in  front  of  the  projector,  or  one  similar 
to  it,  is  mounted  upon  the  camera  to 
take  two  pictures  eye-distance  apart  and 
place  them  upon  the  film  side  by  side. 
These  two  pictures  are  projected  again 
through  this  device,  and  upon  leaving  the 
device  the  two  eyes  are  again  separated. 

At  this  point  each  eye  has  a  piece  of 
Polaroid  placed  in  front  of  it.  The  right 
one  transmits  horizontal  vibrations  and 
the  left  one  vertical,  exactly  as  the 
glasses  are  arranged.  The  right  eye  sees 
the  right-eye  picture  but  not  the  other. 
Conversely,  the  left  eye  sees  the  left-eye 
picture  and  not  that  intended  for  the 


WE  BUY,  SELL  AND  RENT  PROFESSIONAl. 
AND  16  mm  EQUIPMENT  NEW  AND  USED. 
WE  ARE  DISTRIBUTORS  FOR  ALL  LEAD- 
ING MANUFACTURERS.  RUBY  CAMERA 
EXCHANGE,  729  Seventh  Ave.,  New  York  City. 
Established  since  1910. 


BELL  AND  HOWELL  170"  CAMERAS— High 
speed  shuttles — high  speed  gear  boxes — 400  and 
1000  foot  Bell  &  Howell  magazines  -Bell  & 
Howell  tripods— motors.  AKELEY  and  DEBRIE 

CAMERAS.    Akeley  motors.    High  speed  motors. 

Sunshades,  lenses  and  finders. 

Write  or  Wire 
CAMERA  EQUIPMENT,  INC. 

1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 


EYEMO  CAMERA,  50  ft.  capacity  spring,  16- 
24-32  speeds  with  Academy  aperture  view  finder. 
Also  Barlab  camera  crane,  range  11  in.  to  8  ft., 
sacrifice.  GL-6622. 


16  AND  35mm.  EQUIPMENT  FOR  SALE  AND 
rent.  Mitchell,  Bell  &  Howell,  Akeley,  Debrie. 
Eyemo.  Cash  for  your  used  equipment. 
CAMERA-MART,  INC..  110  West  40th  Street., 
New  York  City. 


EASTMAN  CINE-SPECIAL.  Two  years  old. 
Excellent  condition.  With  tripod.  $300.  Sage 
Institute  of  Neon,  Cincinnati,  Ohio. 


WANTED 


WE  PAY  CASH  FOR  YOUR  USED  CAMERA 
LABORATORY     AND     STUDIO  EQUIPMENT. 

Write,  wire  or  cable 
MOTION    PICTURE   CAMERA    SUPPLY,  INC. 
723  Seventh  Avenue,  New  York  City 
Cable  Address :  Cinecamera 


WANTED :    We  pay  cash  for  everything  photo- 
graphic.   Send  full  information  and  lowest  cash 
prices.     HOLLYWOOD    CAMERA  EXCHANGE, 
1600  Cahuenga  Blvd.,  Hollywood,  Calif. 


right  eye.  The  essential  condition  that 
each  eye  see  its  own  picture  and  only  its 
own  picture  is  achieved.  There  is  noth- 
ing to  be  adjusted  mechanically  or 
otherwise. 

One  forgets  the  glasses  and  looks  at 
the  living  scene  unfolding  itself  before 
him;  and  best  of  all,  the  eyes  behave  as 
they  would  if  they  were  present  at  the 
scene.  They  converge  when  the  objects 
are  near  and  change  their  convergence 
for  varying  distances  as  they  normally 
would  do  in  life. 

References 

'  Tuttle,  H.  B.,  and  McFarlane,  J.  W.: 
"Introduction  to  the  Photographic  Pos- 
sibilities of  Polarized  Light,"  J.  Soc.  Mot. 
Pict.  Eng.,  XXV  (July,  1935),  No.  1, 
p.  69. 

'  Kennedy,  C. :  "The  Development  and 
Use  of  Stereo  Photography  for  Educa- 
tional Purposes,"  J.  Soc.  Mot.  Pict.  Eng., 
XXVI  (Jan.  1936),  No.  1,  p.  3. 


Dreher  Heads  Technicians 

Carl  Dreher  has  been  appointed  chair- 
man of  the  board  of  judges  for  the 
scientific  or  technical  Academy  award. 
He  will  be  assisted  by  John  Arnold, 
Farciot  Edouart,  Lloyd  Goldsmith, 
Grover  Laube,  J.  M.  Nickolaus,  Gordon 
Sawyer,  John  Swain  and  S.  J.  Twining. 

The  first  meeting  of  the  board,  ap- 
pointed to  select  those  scientific  or  tech- 
nical achievements  deemed  worthy  of 
recognition  by  the  Academy,  will  be  held 
immediately  after  the  Christmas  holi- 
days. 


7  QUESTIONS  to  ask  if  you  want 

The  Best  Screen  Value  on  the  Market 


1.  Can  I  USE  IT  ANYWHERE? 

The  Da-Lite  Challenger  Screen  has  a  tripod  and  can  be  placed  anywhere. 

2.  Is  it  EASY  TO  SET  UP? 

The  Challenger  can  be  set  up  in  less  than  15  seconds. 

3.  Is  it  ADJUSTABLE  IN  HEIGHT? 

The  fully-opened  Challenger  can  be  adjusted  in  height  for  any  projection 
requirements. 

4.  Has  it  SOIJifRE  TUBING? 

The  Challenger  is  the  only  screen  with  square  tubing  in  the  center  rod  and  ex- 
tension support.  It  holds  the  screen  and  case  rigid  and  keeps  the  entire  picture 
in  perfect  focus. 

5.  Is  the  HANDLE  CORRECTLY  MOUNTED? 

The  leather  handle  of  the  Challenger  is  mounted  on  a  sturdy  bracket  which 
encompasses  the  square  tubing  and  the  case — an  exclusive  patented  feature. 

6.  Has  it  the  RIGHT  SURFACE? 

Unless  white  or  silver  is  specified,  the  surface  of  the  Challenger  is  glass-beaded, 
which  gives  the  brightest,  clearest  pictures,  yet  there  is  no  glare — no  sparkling! 

7.  Is  it  BUILT  TO  LAST? 

The  beads  on  the  Challenger  glass-beaded  screen  are  guaranteed  not  to  shatter 
off.  The  mounting  is  built  throughout  of  quality  parts  for  rigid  support  and 
long  life. 


You  Get  Everything 
Only  in  the  DA-LITE 

CHALLENGER 


Free  Literature — Mail  Coupon  Notv! 

Da-Lite  Screen  Company,  Inc.,  Dept  A.  C. 

2721  North  Crawford  Avenue,  Chicago,  111. 

Send  free  folder  on  Da-Lite  Screens  and  Accessories. 


138 


Name  

Address  . 
City 


State.. 


AMERICAN  CINEMATOGRAPHER 

is  valuable  to  all  persons  interested  in  making 

motion  pictures,  says 

FILM  AND  SCHOOL 

A  Handbook  in  Moving-Picture  Evaluation 

By  Helen  Rand  and  Richard  Lewis 

A  publication  of  the  *National  Council  of  Teachers  of  English 
(D.  Appleton-Century  Company,  Inc.,  New  York,  London.  1937) 
Which  under  the  heading  of  Magazines  and  Bulletins  sets  forth : 

American  Cinematographer  (combined  with  Amateur  Movies) ,  published  by  American  Society 
of  Cinematographers,  1782  North  Orange  Drive,  Hollywood.  $2.50  a  year.  Published  under 
auspices  of  professional  moving-picture  cameramen ;  contains  articles  on  all  phases  of  moving- 
picture  technique  in  a  style  usually  understandable  to  the  layman.  The  Amateur  Movies  sec- 
tion will  be  valuable  to  all  persons  interested  in  making  moving-pictures. 


''Copyright  1937  by  the  National  Council  of  Teachers  of  English. 


To  assure  yourself  of  the  best 
photographic  results  during 
the  coming  year  use 

MITCHELL 
CAMERA 


the  camera  huilt 
to  1938  standards 


Mitchell  Camera  Corporation 

665  NORTH   ROBERTSON  BOULEVARD 
WEST  HOLLYWOOD,  CALIF. 

Cable  Address  "MITCAMCO"  Phone  OXford  1051 

AGENCIES 

BELL  &  HOWELL  CO.,  LTD..  London,  England  MOTION  PICTURE  CAMERA  SUPPLY,  INC.,  New  York  City 

CLAUD  C.  CARTER,  Sydney,  Australia  BOMBAY  RADIO  CO..  LTD.,  Bombay.  India 

D.  NAGASE  &  CO.,  LTD.,  Osaka.  Japan  H.  NASSIBIAN.  Cairo.  Egypt 


46       American  Cinematographer    •    February,  1938 


AMERICAN 
CINEMATOGRAPHER 


A  Technical  and  Educational  publication 
on  motion  picture  photography. 

Published  monthly  by  the 
AMERICAN  SOCIETY 
OF  CINEMATOGRAPHERS.  INC. 
1782  North  Orange  Drive 
Hollywood  (Los  Angeles),  California 

Telephone  GRanite  2136 

VICTOR  MILNER,  President. 
FRED  W.  JACKMAN.  Treasurer. 


Vol.  19 


February,  1938 


No.  2 


Contents 


Three  Hundred  Men:  And  Walt  Disney.  .48 
By  William  Stull,  A.S.C. 

What  About  Me?  51 

By  Bee  Gee,  A.S.C. 

How  Joe  Valentine  Built  Alpine  Crisp- 

ness  Into  Sea  Level  Shots  52 

By  George  Blaisdell 

Polito  Matches  Daylight  with  Arcs  in 

Technicolor  Film  at  Warners  54 

By  Sol  Polito,  A.S.C. 

Camera  Work  Fails  True  Mission  When 
It  Sinks  Realism  for  Beauty  56 

Over  London  at  Night  Elmer  Dyer  Flies 

on  Nose  of  British  Bomber  57 

By  George  Blaisdell 

Jamieson   Completes   Portable  Motion 
Picture  Laboratory  63 


The  Front  Cover 

To  the  piling  thousands  who 
have  seen  "Snow  White,"  the 
last  word  in  the  work  of  Walt  Dis- 
ney, no  explanation  will  be  neces- 
sary to  identify  Snow  White  and 
two  of  the  sturdy  friends  of  hers 
among  the  Seven  Dwarfs.  The 
phantasy  is  a  milestone  in  the 
progress  of  the  screen  as  well  as 
in  that  of  the  young  man  who  has 
made  it  possible.  That  he  still  is 
a  young  man  is  to  the  distinct  ad- 
vantage of  the  screen  and  the  mil- 
lions who  follow  the  adventures 
of  Mickey  Mouse  and  his  fellows. 
Here's  to  his  good  health — and  his 
family's  good  health  .  .  .  Yes,  that 
goes  for  Walt  and  for  Mickey,  too. 


The  Staff 


EDITOR 

George  Blaisdell 

WASHINGTON 
STAFF  CORRESPONDENT 
Reed  N.  Haythorne.  A.  S.  C. 

TECHNICAL  EDITOB 
Emery  Huse.  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 

Victor  Milner,  A.  S.  C. 
James  Van  Trees,  A.  S.  C. 
Fred  W.  Jackman,  A.  S.  C. 
Farciot  Edouart,  A.  S.  C. 
Fred  Gage,  A.  S.  C. 
Dr.  J.  S.  Watson.  A.  S.  C. 
Dr.  L.  A.  Jones,  A.  S.  C. 
Dr.  C.  E.  K.  Mees.  A.  S.  C. 
Dr.  W.  B.  Rayton,  A.  S.  C. 
Dr.  Herbert  Meyer,  A.  S.  C. 
Dr.  V.  B.  Sease,  A.  S.  C. 

CIRCULATION  MANAGER 

L.  F.  Graham 

NEW  YORK  REPRESENTATIVE 

S.  R.  Cowan,  19  East  47th  St.,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 

Georges  Benoit,  100  Allee  Franklin, 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 

AUSTRALIAN  REPRESENTATIVE 

McGill's,  179  Elizabeth  Street,  Melbourne. 
Australian  and  New  Zealand  agents. 

Neither  the  American  Cinematographer  nor 
the  American  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. This  magazine  will  not  be  respon- 
sible for  unsolicited  manuscripts. 


ESTABLLSHED  1920.  Advertising  Rates  on  application.  Subscription:  United  States,  $2.50  a  year;  Canada  and  the  Pan-American  Union,  S2..50  a  year: 
Foreign,  $3.. 50  a  year.  Single  copies.  2.5  cents;  tack  numbers,  30  cents;  foreign,  single  copies,  35  cents;  back  numbers,  40  cents.  COPYRIGHT  1938  by 
American  Society  of  Cinematographers,  Inc. 


Entered  as  second  class  matter  November  18,  1937,  at  the  post  office  at  Los  Angeles,  California,  under  the  Act  of  March  3,  1879. 


February,  1938    •    American  Cinematographer 


qpHE  AMERICAN  SOCIETY  OF  CINE- 
MATOGRAPHERS  was  founded  in  1918 
for  the  purpose  of  bringing  into  closer 
cooperation  all  those  leaders  in  cinematog- 
raphy who  strive  for  preeminence  in  artistic 
and  technical  leadership;  to  further  the 
advancement  of  the  cinema  and  its  allied 
crafts  through  unceasing  research  and  ex- 
perimentation as  well  as  through  bringing 
the  artists  and  the  scientists  of  cinematog- 
raphy into  more  intimate  fellowship.  Its 
membership  is  composed  of  the  outstanding 
cinematographers  of  the  world,  with  Associ- 
ate and  Honorary  memberships  bestowed 
upon  those  who,  though  not  active  cinema- 
tographers, are  engaged  none  the  less  in 
kindred  pursuits,  and  who  have  by  their 
achievements  contributed  outstandingly  to 
the  progress  of  cinematography  as  an  art 
and  as  a  science.  To  further  these  lofty  aims 
and  fittingly  to  chronicle  the  progress  of 
cinematography  the  society's  publication, 
The  American  Cinematographer,  is  dedi- 
cated. 


RESEARCH  COMMITTEE 

Victor  Milner,  George  A.  Mitchell,  Dr.  Herbert 
Meyer,  Farciot  Edouart,  Emery  Huse 


AMERICAN 
SOCIETY  OF 
CINEMATOGRAPHERS 


OFFICERS 

VICTOR  MILNER  President 

CHAS.  B.  LANG.  JR..  .First  Vice  Pres. 
JAMES  VAN  TREES. Second  Vice  Pres. 

RAY  JUNE  Third  Vice  Pres. 

FRED  W.  JACKMAN  Treasurer 

FRANK  B.  GOOD  Secretary 

BOARD  OF  GOVERNORS 

John  W.  Boyle  Ray  June 

Elmer  Dyer  Charles  B.  Lang,  Jr. 

Arthur  Edeson  ^'"^^"^  ^'^"^'^ 

_  _  ,  Charles  Roshei" 

George  Folsey  „  ,  „     ,  „ 

Ted  Tetzlaff 

Alfred  Gilks  i  „  ,r  „  'r_„„„ 

James  Van  Irees 

Frank  Good  Joseph  Walker 

Fred  W.  Jackman  Vernon  L.  Walker 

Frederick   L.    Kley,   Executive  Business  Manager 

PAST  PRESIDENTS 

Philip  E.  Rosen  Hal  Mohr 

Gaetano  Gaudio  Homer  Scott 

James  Van  Trees  John  F.  Seitz 

John  W.  Boyle  Daniel  B.  Clark 

Fred  W.  Jackman  John  Arnold 

PUBLIC  RELATIONS  COMMITTEE 

Charles  Bell,  St.  Paul,  Minn. 

Georges  Benoit,  Paris,  France 

Ariel  Varges,  Tokyo,  Japan 

Charles  W.  Herbert,  New  York  City 

Lloyd  Knechtel,  London,  England 

John  Dored,  Vienna.  Austria 

Max  B.  DuPont,  Papeete,  Tahiti 

Philip  M.  Chancellor 

Reed  N.  Haythorne,  Washington,  D.  C. 

Paul  Perry,  Buenos  Aires 

MEMBERSHIP  COMMITTEE 

George  Folsey  Ted  Tetzlaff 

Alfred  Gilks 

ENTERTAINMENT  COMMITTEE 

Elmer  Dyer  Frank  B.  Good 

Charles  B.  Lang,  Jr.  Vernon  Walker 

Arthur  Edeson 

WELFARE  COMMITTEE 

Ray  June  James  Van  Trees 

Fred  W.  Jackman 

GENERAL  COUNSEL 

Arthur  C.  Webb 


48       American  Cinematographer    •    February,  1938 


Three  Hundred  Men: 

and  Walt  Disney 

that's  the  Analysis 
of  One  Reporter 

There  Was  a  Newsreeler  and  He  Liked  to  Draw:  So 
Draw  He  Did  ....  He  Made  Cartoons:  Into  Them 
He  Breathed  the  Breath  of  Life  ....  He  Made 
No  Mousetrap:  No:  But  He  Did  Make 
Mickey  Mouse  ....  And  the  World 
Beat  a  Path  to  His  Door 


ONCE  upon  a  time,  as  old  Jakob 
Grimm  used  to  say  in  telling  his 
tales,  there  was  a  newsreel  cine- 
matographer. His  name  was  Walter 
Ellis  Disney,  and  he  lived  in  Kansas 
City,  where  he  filmed  news  stories  for 
Pathe,  Selznick  and  most  of  the  other 
silent-day  newsreels.  In  addition  to 
grinding  a  camera,  Cinematographer 
Disney  liked  to  draw.  Eventually  he 
harnessed  his  camera  and  his  pencil  to- 
gether, and  began  to  make  animated 
cartoons. 

A  dozen  years  later,  in  Hollywood, 
this  same  Walt  Disney  is  still  making 
animated  cartoons.  Whenever  and  wher- 
ever there  are  awards  or  honors  offered 
for  outstanding  achievement  in  making 
animated  films,  Disney  smilingly  steps 
up  and  annexes  them  as  a  matter  of 
course.  Throughout  the  lengthening  his- 
tory of  the  Academy  Awards  the  golden 
statuette  for  the  best  in  cartoon  films 
has  never  been  bestowed  on  any  other 
producer. 

The  intervening  years  have  changed 
animated  cartoons — and  particularly  the 
Disney  cartoons — almost  beyond  recog- 
nition, but  they  have  not  touched  Walt 
Disney.  He  is  still  the  same,  breezy, 
informal  fellow  who  used  to  grind  out 
news  films  for  Pathe,  and  between  times 
sketched  amusing  caricatures  of  the  of- 
fice mouse. 

Unique  Studio 

Today,  however,  he  is  the  head  of 
the  industry's  most  unique  major  studio; 
a  plant  where  over  three  hundred  men 
and  women  labor  enthusiastically  to 
transform  fantasy  into  tangible  techni- 
color that  can  be  viewed  on  the  world's 
screens.  A  plant  where  the  most  deli- 
cate, fairy-tale  fantasy  is  joined  to 
the  intricate,  slide-rule  mathematics  of 
cinematic  engineering.    A  plant  where. 


By  WILLIAM  STULL,  A.S.C. 

above  all,   each  of  the  three  hundred 

workers  functions  like  an  extension  of 
Walt's  hands  and  mind. 

For  despite  this  huge  force,  the  Dis- 
ney Studio  is  essentially  a  one-man  or- 
ganization. Every  detail  passes  in  some 
fashion  through  his  hands,  and  every 
decision,  no  matter  how  small,  receives 
his  personal  attention. 

Not  that  there  is  anything  stuffily 
formal  about  it!  It  is  a  simple  and 
natural  tribute  to  the  man  whose  genius 
is  inevitably  the  inspiration  of  every- 
thing done  by  his  co-workers. 

As  one  of  them  expressed  it,  "There 
isn't  a   single  operation   in   the  plant 


Standard    Technicolor    camera    set  -  up 
photof/raphing  a  scene  for  "Snow  White 
and  the  Seven  Dwarfs." 

Photos  by  Len  Weissman. 


at  which,  in  a  pinch,  Walt  couldn't  step 
in  and  carry  on  acceptably  himself.  Per- 
haps, in  some  of  the  more  intricately 
technical  ones,  he  couldn't  do  as  perfect 
a  job  as  the  men  who  are  now  doing 
it;  but  understand  this,  he  could  still 
do  it — and  do  it  better  than  average 
well." 

Disney's  intimate  contact  with  every 
detail  of  his  studio's  work  may  partly 
explain  why  none  of  his  hundreds  of 
employees  would  dream  of  ever  address- 
ing him  or  referring  to  him  by  the  for- 
mal title  of  "Mister."  For  a  Disney 
worker  to  call  his  chief  anything  but 
Walt  would  be  as  inconceivable  as  an 
ordinary  studio  employee  addressing  his 
boss  as  Darryl  or  Louie. 

No  Time  Clock  Here 

In  passing,  it  may  be  mentioned  that 
there  is  no  such  thing  as  a  time  clock 
in  the  Disney  studio.  If  Walt  has  his 
way  there  will  never  be  one,  for  he  and 
his  associates  work,  not  for  pay  checks 
or  profits,  but  because  they  believe  in 
what  they  are  doing  and  because  they 
love  it. 

And  let  it  be  recorded  here  and  now 
that  making  a  Disney  cartoon — ^whether 
it  be  done  of  the  short  "Mickey  Mouse" 
and  "Silly  Symphony"  reels  which 
emerge  at  two  or  three  week  intervals, 
or  a  feature  like  "Snow  White  and  the 
Seven  Dwarfs" — ds  work,  often  in  the 
more  laborious  sense  of  the  word. 

Most  of  us,  when  we  think  at  all  of 
how  animated  cartoons  are  made,  think 
of  it  in  relatively  simple  terms:  back- 
grounds sketched  on  paper,  animated 
action  on  celluloids,  with  the  several 
drawings  superimposed  and  photo- 
graphed, a  frame  at  a  time,  with  the 
animating  "cells"  changed  between  each 
frame  or  two.  A  tedious  operation,  per- 
haps, drawing  and  photographing  the 


February,  1938    •    American  Cinematographer  49 


several  thousand  frames  that  constitute 
a  one-reel  short,  but  essentially  simple. 

That  is  still  the  basic  principle  of 
operations  in  Disney's  "mouse  factory," 
but  in  advancing  the  animated  film  to 
its  present  state  of  technical  and  artistic 
refinement,  Disney  and  his  staff"  have 
added  so  unbelievably  to  these  funda- 
mentals that  they  are  buried  in  an  in- 
credible profusion  of  technicalities. 

The  starting  point  of  any  picture  is 
of  course  the  story.  In  the  case  of 
"Snow  White"  it  was  of  course  Jakob 
Grimm's  centuiy-old  fairy  tale;  in  the 
two  features  currently  in  production, 
"Pinnochio"  and  "Bambi"  equally  fa- 
miliar books  furnished  the  inspiration. 
In  the  short  subjects,  the  story  orig- 
inates from  an  idea. 

Star  With  Just  Idea 

Perhaps  it  is  an  idea  from  Walt's 
fertile  brain  or  from  one  of  his  story 
staff;  perhaps  it  is  simply  a  sviggestion 
made  by  someone  in  or  about  the  studio. 

Whatever  it  is,  Walt  and  his  story 
drawing  "writers"  confer  over  it,  tearing 
it  apart,  building  it  up,  adding,  deleting, 
changing  and  revising  until  the  story 
outline,  supported  by  sketches  of  key 
scenes  and  characters,  stands  complete, 
perfectly  adapted  alike  to  the  cartoon 
medium  and  to  Disney's  unique  interpre- 
tation of  it. 

The  story  is  then  turned  over  to  a 
corps  of  unit  animators.  Each  of  these 
directs  the  drawing  of  certain  definite 
sequences.  Each  may  draw  the  key 
drawings — the  beginnings  and  ends  of 
movements,  and  such  basic  features — 
while  other  animators  complete  the  in- 
numerable "in-between"  drawings  neces- 
sary. Still  other  artists  draw  back- 
grounds exclusively. 

While  this  is  being  done,  the  music, 
songs,  dialogue  and  sound  effects  are 
written  and  recorded.  This  is  neces- 
sary due  to  the  essentially  rhythmic 
nature  of  all  Disney  films,  and,  especial- 
ly in  the  features,  to  the  necessity  for 
accurately  synchronizing  the  pictured 
lip-movements  with  the  recorded  words. 

When  the  sound  is  recorded  the  sound 
experts  "read"  the  track,  and  can  break 
down  the  words,  rhythmic  beats  and  so 
on  into  terms  of  film  footage  and  frames. 
Thus  they  can  tell  the  animators  to 
draw  Snow  White  or  one  of  the  dwarfs 
speaking  a  given  word  at  a  definite 
frame  in  the  scene. 

Animation  Smooth 

This  gives  the  animator  the  key  to 
the  situation,  for  at  such  a  frame  the 
camera  will  be  photographing  a  definite- 
ly numbered  drawing.  Thus,  when  the 
picture  is  photographed,  it  is  already 
synchronized  with  the  prerecorded  sound, 
no  matter  how  long  before  that  sound 
was  recorded.  Some  of  the  songs  and 
dialogue  for  "Snow  White  and  the  Seven 
Dwarfs"  actually  were  recorded  nearly 
three  years  before  the  accompanying 
drawings  were  photographed. 

Everyone  who  has  seen  "Snow  White" 
has  commented  upon  the  incredibly 
smooth,  lifelike  quality  of  the  anima- 
tion. Part  of  this,  as  Walt  and  his 
cohorts  freely  admit,  was  achieved  by 


the  simple  but  painful  method  of  trial 
and  error.  If  a  scene  as  originally  made 
did  not  seem  smoothly  satisfactory,  Walt 
with  his  artists  and  technicians  studied 
it,  analyzed  it  until  they  found  what 
was  wrong. 

Then  they  made  the  whole  thing  over 
— drawings  and  all — often  only  to  re- 
peat the  process  as  improvements 
showed  room  for  further  advances.  This 
painstaking  care  was  one  of  the  fac- 
tors which  ran  the  costs  on  this  pro- 
duction up  from  an  estimated  8250,000 
to  a  rumored  million  dollars,  but,  as  the 
Disneyites  repeatedly  state,  cost  does  not 
enter  into  consideration  at  Disney's 
until  perfect  quality  is  assured. 

Another  vital  factor  in  the  perfection 
of  "Snow  White's"  animation  is  the 
guidance  furnished  by  what  Walt  calls 
"live  action."  Living  actors,  suitably  cos- 
tumed, are  photographed  going  through 
the  desired  action.  The  films  of  this 
"live  action"  then  guide  the  animator 
in  preparing  his  drawings.  Each  ani- 
mator works  with  a  Moviola  at  his 
side.  In  this  he  can  study  the  live  ac- 
tion film  both  in  motion,  and  frame 
by  frame. 

16mm.  Camera  Enters 

It  has  been  rumored  that  the  animated 
drawings  are  copied  directly  from  this 
film;  but  such  is  not  the  case.  The 
live  action  serves  purely  as  a  guide. 
Actually,  it  is  pointed  out,  if  the  draw- 
ings were  copied  directly  from  the  "live 
action"  frames,  the  result,  while  mathe- 
matically accurate,  would  seem  unnat- 
ural. 

The  proportioning  of  figures,  heads, 


and  so  on,  oddly  enough,  must  be  dis- 
torted and  exaggerated  in  the  cartoon 
— even  for  so  natural  a  character  as 
Snow  White — if  the  result  is  to  appear 
natural  on  the  screen. 

The  genesis  of  this  "live  action"  tech- 
nique probably  had  its  beginning  some 
six  years  ago,  when  Walt  purchased  a 
16mm.  camera  for  some  vacation  film- 
ing. At  that  time,  writing  in  the  Amer- 
can  Cinematographer  for  March,  19-32, 
Walt  said: 

"When  I  bought  my  camera  I  intended 
to  use  it  entirely  for  my  own  pleasure. 
But  Mickey  Mouse  intervened.  He  al- 
ways does!  Ever  since  I  first  drew  him 
he  has  become  more  and  more  real  and, 
like  a  real  child,  ingratiatingly  demands 
more  and  more  of  my  spare  time.  I  had 
never  expected  that  he  would  become 
interested  in  amateur  moviemaking, 
though! 

"But  he  fooled  me,  and  did.  I  think 
it  started  while  I  was  in  St.  Louis  and 
visiting  the  wonderful  zoo  they  have 
there.  Something  (it  must  have  been 
Mickey)  whispered  into  my  ear  and 
asked  me  if  I  didn't  realize  how  inter- 
esting it  would  be  to  have  some  films 
of  the  way  the  diff'erent  animals  and 
birds  walked  and  flew,  and  how  useful 
it  would  be  in  showing  my  animators 
how  to  draw  them  for  the  cartoons. 

"I  didn't  pay  too  much  attention  to 
Mickey's  urgings,  for  after  all,  I  was 
on  a  vacation.  But  I  did  unlimber  the 
camera,  and  shot  a  number  of  rolls  of 
the  various  birds  and  beasts,  telling 
myself,  however,  that  I  was  doing  it  be- 
cause they  were  so  interesting  to  me. 


Walt  f/ctf  ncqitdiritt'd  ivitli  ihc  Seren  Dwarfs. 


60       American  Cinematographer    •    February,  1938 


But  when  I  got  back  to  the  studio, 
Mickey  made  me  run  the  films  for  the 
animators,  who  got  a  number  of  ideas 
from  them.  Now  I'm  going  to  make 
some  more  films  of  the  same  sort,  doing 
them  more  carefully,  and  in  slow  mo- 
tion, so  that  we  can  really  analyze  the 
movements." 

Slow  Motion  Factor 

So  extensively  has  this  idea  been  de- 
veloped that  over  60  percent  of  "Snow 
White  and  the  Seven  Dwarfs"  was  ani- 
mated with  the  guide  of  live  action 
filming.  Today,  such  celebrated  motion 
picture  directors  as  Sidney  Franklin,  di- 
rector of  "Good  Earth,"  and  such  notable 
cinematographers  as  James  Wong  Howe, 
A.S.C.,  are  on  the  Disney  staff,  helping 
to  solve  the  problems  of  producing  the 
cartooned  features. 

Another  advantage  offered  by  well- 
directed  live  action  is  pointed  out  by 
one  of  the  animators,  who  remarked 
that  the  live  action  films  help  the  art- 
ists to  solve  the  ever-perplexing  prob- 
leins  such  as  what  to  make  an  actor's 
left  hand  do  when  his  right  hand  i.s 
doing  some  important  business,  how 
to  manage  hands  and  feet  while  dia- 
logue is  spoken,  or  songs  sung,  and 
so  on. 

After  all,  a  painter  or  illustrator  uses 
live,  if  motionless,  models;  why  shouldn't 
the  animated  cartoon  artist  take  ad- 
vantage of  live  action  film  for  modeling 
his  animated  drawing  ? 

But  even  with  the  advantage  of  live 
action  models,  the  animator  depends 
largely  on  photographic  tests  of  his 
actual  drawings.  When  he  has  completed 
the  original  animations  of  a  scene,  se- 
quence, or  even  of  a  single  movement, 
he  can  send  his  drawings  which,  at  this 
point,  are  simply  pencil  outlines  on  white 
paper,  to  the  test  department  to  be 
photographed. 

Moviola  Comes  In 

Here  the  drawings  are  photographed 
with  an  ordinary  black-and-white  cam- 
era, usually  on  recording-positive  film 
spliced  together  from  the  Sound  De- 
partment's "NG'd"  sound  track  takes. 
This  film  is  developed  in  a  miniature  lab- 
oratory in  the  studio,  and  a  few  minutes 
later  the  artist  can  slip  the  test-nega- 
tive into  his  Moviola  and  study  his 
animation  in  motion. 

These  tests  are  invaluable  in  coordi- 
nating the  work  of  the  many  individual 
artists  who  animate  the  scenes  com- 
prising a  sequence.  Consequently,  the 
film  is  run  and  rerun,  and  spliced  and 
respliced  with  tests  of  other  parts  of 
the  action. 

Since  several  frames  are  often  lost 
with  each  new  splicing,  and  since  each 
scene  has  a  very  definite  starting  point, 
the  film,  as  soon  as  it  is  developed,  is 
marked  with  a  special  punch  which 
punches  a  decreasing  number  of  fine 
holes  in  each  of  the  first  six  or  eight 
frames. 

Thus,  even  when  the  film  has  been 
spliced — and  accordingly  shortened— 
half-a-dozen  times,  anyone  can  immedi- 
ately determine  how  many  frames  have 
been  deleted. 


Another  technical  development  which 
played  a  great  part  in  the  smooth  ani- 
mation of  "Snow  White  and  the  Seven 
Dwarfs"  was  one  which  permitted  the 
animators  to  make  their  drawings  in 
any  size  that  may  be  convenient.  Ac- 
tually, in  some  of  the  long  shots  the 
drawn  image  of  a  figure  like  that  of 
Snow  White  would  be  but  half  an  inch 
or  less  in  height. 

Scope  for  .\rtists 

This  would  of  course  be  far  too  small 
for  accurate  drawing,  even  if  there  was 
to  be  no  animation.  It  would  be  ab- 
solutely impossible  to  secure  smooth 
continuity  of  the  successive  drawings 
of  this  tiny  figure  in  animated  scenes, 
to  say  nothing  of  the  impossibility  of 
achieving  uniformly  smooth  animation. 


The  special  Multiplane  camera.  Here  it 
is  photographing  a  background  (bottom), 
one  plane  of  animation  (middle)  and  a 
foreground  plane  (directly  below  camera 
stage). 


But  in  "Snow  White  and  the  Seven 
Dwarfs"  the  artists  were  able  to  draw 
these  animations  in  any  size  they  wished; 
they  could  make  the  figure  eight,  ten 
inches  or  a  foot  high  if  they  desired, 
aff'ording  themselves  ample  scope  for 
including  the  minutest  detail,  and  for 
the  smoothest  consistency  of  line  and 
animation. 

These  large  drawings  are  then  photo- 
graphed, and  the  negative  printed,  with 
the  necessary  reduction  in  size,  on  East- 
man "wash-off'  relief"  films,  11  by  14 
inches  in  size.  These  are  then  developed 
and  tanned  in  the  usual  manner,  but  not, 
as  would  ordinarily  be  the  case,  colored 
and  used  for  color  printing. 

Instead,  the  fi'ms,  which  show  a  strong 
brown  outline  image  of  the  drawing, 
are  fixed  out  and,  exactly  like  any  ordi- 
nary inked  celluloid,  are  backed  with 
the  requisite  colors  and  then  used,  like 


any  ordinary  "cell,"  in  photographing 
the  cartoon. 

Many  of  the  most  important  scenes 
in  "Snow  White  and  the  Seven  Dwarfs" 
owe  their  perfection  to  this  technique. 
Many,  too,  combined  this  with  live  ac- 
tion photography  to  result  in  animation 
which  could  not  have  been  approached 
with  the  older,  conventional  methods 
of  animation. 

Finally,  the  painted  backgrounds  and 
the  celluloid  animations  are  photo- 
graphed. This  is  a  simple  statement  of 
what  was  once  a  routine  operation,  but 
by  no  means  a  simple  one. 

Filters  Balanced 

The  camera  used  is  a  special  one, 
which  successively  exposes  three  frames, 
each  through  the  correct  color  filter  to 
give  the  three  necessary  color  separation 
negative  frames  for  the  three-color 
Technicolor  process. 

The  filters  used  are  mounted  in  a  ro- 
tating disk  which  makes  one  revolution 
for  each  three  frames  of  films  exposed, 
thereby  exposing  one  frame  behind  the 
blue  filter,  one  behind  the  red,  and  the 
third  behind  the  green.  The  filters,  of 
course,  are  balanced  with  the  proper 
neutral  density  increments  to  equalize 
the  three  exposures  for  a  uniform  ex- 
posure period. 

For  straightforward  camerawork  the 
backgrounds  and  cells  are  photographed 
in  the  usual  way,  with  the  background 
held  on  a  flat  base  and  the  cells  super- 
imposed directly  on  top  of  it,  and  all 
held  in  register  by  accurate  registering 
pegs  which  engage  perforations  in  the 
celluloids,  while  a  pneumatically  operat- 
ed glass  pressure  plate  holds  all  flat. 

But  for  special  scenes,  a  special  "Multi- 
plane" camera  is  used.  This  is  an  im- 
mense stand  which  permits  arranging 
the  celluloids  in  as  many  as  five  or 
more  separate  planes  above  the  back- 
ground. It  is  possible  to  animate  action 
on  cells  several  inches  or  a  foot  above 
the  painted  paper  background,  while 
other  action  animates  in  yet  another 
plane  and  painted  "foreground  pieces" 
between  the  animated  cells  and  the 
camera  add  further  to  the  illusion  of 
depth. 

Essentially  the  principle  is  the  same 
as  that  used  for  generations  in  the 
theatre,  where  a  back  drop  provides  a 
background,  and  flats  and  cut  -  outs 
farther  down  stage  in  the  wings  suggest 
depth,  while  the  actors  move  throughout 
the  stage  area. 

Movement  Is  Timed 

The  problems  of  perspective,  propor- 
tions and  timing  in  these  multiplane 
scenes  can  be  incredibly  complex.  Pic- 
ture, for  instance,  a  traveling  shot  in 
which  the  camera  "follows"  an  animated 
character  walking  through  a  landscape. 

In  one  plane  the  drawings  (on  cellu- 
loid) of  the  character  would  animate, 
following  one  scheme  of  perspective  and 
timing.  Behind  him,  the  background 
would  move  past,  not  only  in  a  different 
physical  plane,  but  timed  to  an  entirely 
different  but  necessarily  rigidly  propor- 
I Continued  on  Page  58) 


February,  1938    •    American  Cinematographer  51 


WHAT 
ABOUT 
ME? 


By 

BEE  GEE 


ART  Lloyd,  a  Hal  Roach  ace,  some- 
times wishes  he  could  turn  the 
>■  crank  by  hand.  The  motor  drive 
has  no  individuality  ....  Sol  Halperin 
continues  to  match  lighting  of  action  to 
the  projection  screen.  And  he  never 
misses  ....  John  Boyle  takes  my  seat 
on  your  Board  of  Governors.  I  was  sub- 
bing for  him  while  he  was  in  Europe. 
Everything  worked  out  swell,  as  my  box- 
ing gloves  fit  him  perfectly  ....  Archie 
Stout  still  telling  them  where  to  place 
'em  on  Harold  Lloyd's  "Professor  Be- 
ware". .  .  .  Art  Miller  has  two  pals — 
Shirley  Temple  and  his  eight  mm.  Bell 
and  Howell  camera.  It's  a  closed  corpora- 
tion. Both  take  turns  photographing  each 
other.  [You  may  not  believe  it,  but  the 
picture  of  Art  and  Shirley  on  this  page 
was  set  for  printing  in  this  issue  when 
B.  G.  brought  in  this  item — G.B.]  .... 
John  Seitz  enjoying  a  two  weeks'  vaca- 
tion ....  Lester  White  doing  a  nice 
job  on  the  Lewis  Stone  Judge  Brady 

series  at  M.G.M  Again  Gordon 

Jennings  comes  through  with  some 
clever  trick  work.  This  time  in  "Wells 
Fargo."  They  tell  me  that  Theodor 
Sparkuhl,  who  photographed  the  pic- 
ture, is  spending  a  lot  of  time  out  at  the 
Huntington  Art  Galleries  studying  the 
lighting  of  the  great  masters  .... 
*        *  * 

Gregg  Toland  hied  himself,  equipment 
and  gang,  over  to  Twentieth  for  "Kid- 
napped." Wise  boy,  Gregg.  Full  equip- 
ment and  a  crack  crew  (including  a  cof- 
feemaker  to  keep  the  esprit  de  corps 
alive)  enables  him  to  report  ready  for 
action  ....  Harry  Davis  is  still  "test- 
ing" at  Twentieth.  Why  don't  you  let 
Bud  Fischer  beat  you  bowling,  or  maybe 
it's  the  green  shirt  ....  Sol  Polito  and 
George  Barnes  splitting  laurels  on 
"Gold  Diggers  in  Paris"  for  Warners 
....  Dan  Clark  and  Pev  Marley  shar- 
ing honors  for  "In  Old  Chicago."  Dan's 
filter  work  and  performance  were  the 
two  outstanding  successes  in  the  picture 
....  Karl  Freund's  latest  release, 
"Man-Proof,"  checked  up  a  S.O.  over 
the   B.O.   window  when   it  opened  in 


Hollywood.  Nick  gave  you  a  swell  print, 
Karl,  and  did  you  know  that  your  direc- 
tor was  once  a  very  fine  cameraman? 

*       *  * 

John  Alton,  the  Spanish  Versioneer, 
has  read  everything  ever  written  on  Pho- 
tography ....  Art  Edison  and  Charlie 
Rosher  trying  to  kill  time  while  the 
women  folk  are  moving-pictureing  .... 
At  the  last  board  meeting  Fred  Jack- 
man  woke  up  just  in  time  to  vote,  or 
maybe  he  was  thinking  out  a  special  ef- 
fect problem  ....  William  O'Connell 
is  as  proud  of  the  Warner-FRED  Gage 
Laboratoiy  as  if  he  personally  designed 
it,  and  speaking  of  laboratories  some  day 
they  all  will  be  good  ....  George  Robin- 
son is  watching  the  print  on  his  new  pic- 
ture, "You're  a  Sweetheart"  for  Universal 
....  Bob  Planke,  Art  Miller  and 
Dan  Clark  filled  in  the  proper  place 
with  ink  for  another  year  at  Twentieth 
....  John  Arnold  tells  me  that  the 
equipment  replacement  reached  SiD  Wag- 
ner and  that  they  are  shooting.  John 
expects  the  first  shipment  of  film  soon. 

Glenn  MacWilliams,  whose  present 
address  is  Queen  of  the  Angels'  Hospital, 
is  sending  out  a  call  for  his  friends  lo 
come  in  and  visit  him.  Glenn  is  off  his 
feet  just  now  with  a  broken  back,  the 
result  of  an  automobile  accident.  That 
should  be  a  command.  Let's  make  it  so.  .  . 
Charles  Clarke  trying  to  explain  the 
difference  between  the  color  resolving 
powers  of  the  eight  and  sixteen  mm. 
films  ....  Hugh  McClung  over  at  U.A. 
tells  me  that  the  Lab  got  an  order  for 
200  prints  over  the  quota  on  "Hurri- 


Inscribed  to  the 

COMINGS 

and 

GOINGS 

of  the 

A.  S,  C.  Clan 
at  zvorh  and 
at  play. 


cane."  Are  they  buying  that  picture? 
Well  ....  Stanley  Cortez  waving  good- 
bye to  a  dear  friend  at  the  S.P.  station. 
*  *  * 
Pictures — Pictures — Pictures !  That's 
the  cry,  complaint,  and  appeal  our  editor 
is  yelling.  So  send  them  in.  Men.  Buy 
your  stillman  a  box  of  cigars  or  an  auto- 
mobile and  tell  him  to  make  them  candid. 
Tell  him  to  sneak  up  on  you  and  explode 
several  flashes  to  be  sure  the  expression 
is  natural.  Then  heave  a  sigh  and  re- 
mind yourself  it's  for  George  ....  and 
tie  in  the  stillman's  name  with  it. 
(Continued  on  Page  64) 


Shirley  Temple  turns  the  lens  on  Arthur  Miller,  A.S.C.,  who  for  a  long  time  has 
been  directing  photograph]!  on  the  little  star's  pictures.  The  cameraman  is  an 
authority  on  the  substandard  cameras  as  well  as  on  the  big  boys,  and  noiv  that 
Shirley  her  own  Filmo  Double  f  the  title  of  "director  of  photography"  may  be^ 
changed  to  read  "preceptor  of  .  .  ." 


52        Amkrican  CiNEMATOGRArHER    •    February,  1938 


How  Joe  Valentine  Built  Alpine 
Crispness  Into  Sea  Level  Shots 

Just  Matter  of  Balancing  Incandescents  and  Arcs 
Having"  Regard  to  Color  of  Respective  Lights 
and  Color  Sensitivity  of  Film  Employed — 
Uses  Arc  Designed  for  Technicolor 


WHEN  Joe  Valentine,  A.  S.  C, 
made  preparations  to  direct  the 
photography  on  Universal's 
"Mad  About  Music,"  the  subject  in  which 
that  charming  slip  of  a  girl  Deanna  Duv- 
bin  was  to  be  featured  with  Herbert 
Marshall,  he  knew  he  was  on  his  way  to 
something  that  would  be  anything  other 
than  a  picnic. 

He  knew,  for  instance,  the  atmosphere, 
the  locale,  was  to  be  of  and  among  the 
Swiss  Alps.  Now  it  just  happened  he 
knew  quite  a  bit  at  first  hand  about 
that  Alpine  atmosphere.  For  it  was  not 
so  long  since  during  the  execution  of  an 
assignment  from  the  Fox  studio  he 
toured  Europe  for  a  year  seeking  loca- 
tions and  studying  not  only  factors  pho- 
tographic, the  advantages  and  disadvan- 
tages that  were  to  be  found  in  a  half- 
score  countries  in  a  camera  way,  but  the 
people  and  their  customs. 

In  the  course  of  that  long  jaunt  he 


By  GEORGE  BLAISDELL 

had  visited  Switzerland,  went  up  into 
the  Alps,  and  in  that  rarefied  atmosphere 
as  he  had  in  other  places  exposed  not 
only  numberless  still  plates — in  which 
work  incidentally  he  is  a  past  master — 
and  the  35mm.  film  for  which  primarily 
he  went  abroad  but  hundreds  of  feet  of 
16mm.  film,  the  negatives  of  which  he 
still  has. 

Photographic  Dilemmas 

Valentine  knew  that  in  Switzerland 
the  air  was  unusually  and  sharply  crisp, 
the  absolute  opposite  of  that  which  ordi- 
narily was  to  be  found  in  Southern  Cali- 
fornia at  sea  level.  It  just  happened 
practically  every  production  factor  dic- 
tated the  making  of  the  major  part  of 
"Mad  About  Music"  within  studio  walls 
at  Universal  City. 

That  meant  it  was  necessary  to  create 
an  authentic  simulation  of  Swiss  atmos- 
phere. 

More  than  that,  as  a  gigantic  scenic 


Joe  Valentine,  A.S.C.,  hy  the  Hide  of  the  camera  with  v'JncIi  he  does  things. 


setting  was  to  be  erected  and  extended 
practically  the  circumference  of  the 
large  studio,  it  meant  the  director  of 
photography  was  to  be  faced  with  other 
dilemmas.  One  stood  right  out  in  the 
script — that  sequence  in  which  Herbert 
Marshall  was  to  pass  along  the  side  of 
a  building  the  wall  of  which  was  to  be 
but  three  feet  away  from  the  backing. 

Plainly  the  backing  when  it  was  trans- 
lated to  the  screen  must  bear  not  only 
the  illusion  of  the  Swiss  atmosphere, 
crisp  and  cameolike  in  its  definition,  but 
also  it  must  bear  the  stamp  of  distance 
such  as  only  mountains  under  snow  can 
convey. 

Many  "Bugs" 
Into  the  solution  of  this  major  prob- 
lem came  first  the  resolving  of  many 
minor  "bugs"  but  nevertheless  each  one 
vital  in  its  relation  to  the  whole.  Each 
one,  in  other  words,  was  like  a  link  in 
a  chain. 

The  negative  being  exposed  was  East- 
man Super  X  panchromatic,  sensitive 
like  other  film  of  its  type  to  red,  blue 
and  green. 

The  arc  gives  a  blue-white  light,  while 
the  incandescent  gives  a  light  which 
tends  more  to  the  longer  wavelength. 

Arc  lights  are  generally  employed  in 
such  instances  as  window  illumination 
or  for  a  markedly  outlined  shadow.  The 
effect  of  tungsten,  again  speaking  gen- 
erally, is  to  give  a  softer  quality  to  the 
general  result,  as  an  example  being  ideal 
for  close-ups. 

Altitude  and  Sea  Level 

Valentine  believes  there  will  be  no 
quarrel  with  the  suggestion  that  sharp- 
ness in  photography  is  lack  of  diffusion. 
From  that  viewpoint  he  drew  the  con- 
clusion that  sharp  photography  gives  the 
illusion  of  altitude  and  diffusion  that  of 
sea  level. 

So  the  use  of  the  arc  to  bring  out  the 
atmosphere  crispness  was  indicated. 
What  proportion  of  arc  to  incandescent, 
where  to  place  each  with  relation  to  the 
other  and  to  the  whole  so  as  best  to  de- 
velop the  desired  color  balance  and  the 
desired  simulation  of  the  Swiss  moun- 
tain atmosphere  was  the  problem  faced 
by  Valentine. 

(Continued  on  Page  82) 


February,  1938    •    American  Cinematographer  53 


G-E  MAZDA  LAMPS  blend  well  with 
other  light  sources  for  Technicolor 


G-48  spotlight 


If  you  are  shooting  in  Technicolor, 
just  remember  this:  Thanks  to  new  pre- 
cision fihers  and  the  brighter,  whiter 
Hght  from  G-E  MAZDA  lamps  for  color 
photography,  inkies  now  blend  well  with 
other  light  sources  for  color  work. 

The  candid  shot  above  suggests  how  the 
camera  crew  of  Samuel  Goldwyn's  new 
production  "The  Goldwyn  Follies"  are 
making  use  of  this  fact .  .  .  and  enjoying 
these  important  advantages  provided 


by  General  Electric  MAZDA  lamps: 

1.  Compactness  .  .  .  inkies  fit  readily  into 
cramped  quarters  to  provide  the  desired 
effect. 

2.  Constant  color  .  .  .  and  satisfactory  color, 
whether  you  mix  them  with  arcs  or  daylight. 

3.  Silent  operation. 

4.  Lightness  and  portability  of  equipment. 

Are  you  benefitting  from  the  flexibility  and 
versatility  of  G-E  MAZDA  lamps?  General  Elec- 
tric Company,  Nela  Park,  Cleveland,  Ohio. 


GENERAL  ^  ELECTRIC 

MAZDA  LAMPS 


54       American  Cinematographer    •    February,  1938 


Polito  Matches  Da ylight  with  Arcs 
in  Technicolor  Film  at  IVarners 


So  much  has  already  been  written 
about  Technicolor  cinematography 
that  I  must  admit  I  hesitate  to  say 
anything  about  my  experiences  in  pho- 
tographing color  film.  It  is  all  very  well 
for  reporters  and  press  agents  to  make 
something  unusual  and  mysterious  out 
of  color  filming;  but  every  cinematog- 
rapher who  has  had  any  experience  with 
color  has  speedily  learned  that  good 
photography  in  color  does  not  differ  very 
much  from  good  photography  in  black- 
and-white. 

Such,  at  least,  was  my  experience  when 
Warner  Brothers  assigned  me  to  direct 
the  photography  of  its  Technicolor  fea- 
ture, "Gold  Is  Where  You  Find  It." 


By  SOL  POLITO,  A.S.C. 

Naturally,  there  are  certain  purely 
technical  differences  between  black-and- 
white  and  Technicolor,  but  that  is  to  be 
expected.  After  all,  they  are  not  too 
much  greater  than  you  would  find  in 
changing  from  one  type  of  black-and- 
white  film  to  another  with  which  you 
were  not  familiar,  or  in  going  from  one 
monochrome  laboratory  to  another. 

For  instance,  since  your  color  camera 
divides  the  light  to  expose  three  films 
rather  than  one,  and  passes  it  through 
a  number  of  filters  and  prisms  which 
are  not  found  in  a  monochrome  camera, 
it  stands  to  reason  that  you  will  have  to 
use  a  bit  more  light.  But  what  of  that? 
You  would  encounter  the  same  problem 


often  enough  in  going  from  one  studio's 
laboratory  to  another. 

Lessening  Light 

I  began  by  adding  perhaps  50  per 
cent  more  light.  Then,  as  I  became  more 
accustomed  to  using  the  process,  I  found 
myself  cutting  down  on  my  lighting 
with  every  day's  work,  until  at  the  end 
I  was  very  close  indeed  to  my  regular 
black-and-white  lighting  level. 

Besides,  this  whole  question  of  adding 
light  for  color  can  be  interpreted  in 
many  different  ways.  If  you  take  it  as 
a  matter  of  electrical  current  consump- 
tion— generator  load — you  will  arrive  at 
one  figure  to  express  the  increase;  if 
you  count  it  as  a  matter  of  illumination 
on  the  set — actual  foot-candles — you  will 
reach  quite  a  different  figure.  Both  are 
in  themselves  correct — but  neither  is 
wholly  accurate. 

Less  Latitude  in  Color 
You  also  will  find  that  there  is  some- 
what less  latitude  in  color  than  in  black- 
and-white.  This  is  of  course  true  of  any 
color  process;  but  it  must  be  said  that 
the  men  in  the  Technicolor  laboratory 
are  constantly  making  improvements  in 
their  process  that  are  improving  this. 
After  all,  there  have  been  black-and- 
white  emulsions  which  have  had  no 
greater  latitude. 

I  think  it  has  been  brought  out  in 
these  pages  that  there  are  two  very 
definite  schools  of  thought  as  to  how 
Technicolor  scenes  should  be  lit.  One 
of  them,  supported  by  some  excellent 
pictures,  holds  that  color  scenes  should 
be  lit  rather  more  brilliantly  than  if 
one  was  lighting  the  same  scene  for 
black-and-white. 

The  other,  supported  by  equally  good 
films,  holds  that  color  should  be  lit 
rather  more  flatly,  since  one  has  color 
contrasts  to  give  the  separation  con- 
trasted lighting  seeks. 

No   Particular  Problem 

For  myself,  I  must  say  that  I  hold 
to  the  latter  principle.  Much  of  the 
contrast  in  our  modern  black-and-white 
lighting  was  developed  simply  to  get 
around  the  limited  color  rendition  of 
black-and-white  emulsions;  to  separate 
objects  which,  while  actually  of  differ- 
ent colors,  were  rendered  too  similarly 
in  shades  of  gray.  When  you  can  re- 
produce these  color  contrasts  themselves 
on  the  screen,  why  add  the  now  un- 
necessary contrasts  in  lighting? 

Bearing  this  in  mind,  lighting  a  Tech- 
nicolor scene  is  no  particular  problem. 
(Continued  on  Page  84) 


Working  before  the  Technicolor  camera  filming  "Gold  Is  Where  You  Find  It,"  Olivia 
De  Havilland  and  George  Brent  found  Side  Arc  floodlightf;  and  H.I.  Arc  spotlights 
easier  to  face  than  reflectors,  while  Cinematographer  Polito  found  Arc  "booster" 

lights  preferable  to  reflectors. 


February,  1938    •    American  Cinematographer  55 


"TE^  BEST"  ON  EASTMAN 
FILM  EXCLUSIVELY 


EVERY  one  of  the  '^Teii  Best  Pictures" 
selected  in  the  1937  critics'  poll  of  the 
Film  Daily  was  "shot"  on  Eastman  Super 
X  Panchromatic  Negative  ....  Release 
prints  for  all  ten  were  made  on  Eastman 
Positive  ....  An  impressive  double  dem- 
onstration of  Eastman's  current  contribu- 
tions to  motion  picture  quality.  Eastman 
Kodak  Company,  Rochester,  N.  Y.  (J.  E. 
Brulatour,  Inc.,  Distributors,  Fort  Lee, 
Chicago,  Hollywood.) 


EASTMAN  Positive  and 
Super  \  Nefjative 


56       American  Cinematographer    •    Februajy,  1938 


Camera  IV irk  Fails  True  Mission 
When  It  Sinks  Realism  for  Beauty 

So  Declares  Ernst  Lubitsch  in  Plea  for  Portrayal 
of  Life  as  It  Is  Rather  Than  as  It  May  Be 
Beautified — Admits  Directors  Prize 
Confreres'  Bouquets  Highest 


THERE  is  no  doubt  of  the  fact  that 
American  cinematography  is  the 
most  perfect  in  the  motion  pic- 
ture world.  But  there  can  be  occasions, 
Director  Ernst  Lubitsch  recently  pointed 
out  in  discussing  cinematographers  and 
cinematography  with  this  writer,  when 
it  can  be  too  perfect  for  its  own  good. 

This  is  a  broad  statement,  but  Di- 
rector Lubitsch's  international  experi- 
ence gives  him  a  uniquely  broad  out- 
look on  things  cinematic.  Scoring  his 
initial  success  with  UFA  in  the  years 
immediately  following  the  war,  Lubitsch 
came  to  America  fifteen  years  ago  to  be- 
come one  of  the  rarely  few  directors  of 
foreign  fame  to  add  to  his  cinematic 
stature  with  each  successive  Hollywood 
production. 

And  fifteen  years  ago,  in  an  interview 
with  a  former  editor  of  this  journal,  he 
said,  when  asked  why  he  had  not  brought 
his  German  cameraman  with  him  to 
America,  that  there  was  no  need;  that 
the  world's  greatest  masters  of  the  cam- 
era had  either  grown  up  with  Holly- 
wood or  had  been  attracted  there  long 
since. 

Fifteen  years  of  making  pictures  in 
Hollywood  studios  have  not  changed  this 
opinion.  "American  cinematographers," 
he  began,  "are  the  greatest  in  the  world. 
There  is  no  getting  around  that.  Any 
foreign  cinematographer  who  could 
compare  with  them  would  unquestion- 
ably be  in  Hollywood  now,  if  he  were 
that  good! 

Examples  of  Realism 

"But  it  seems  to  me  that  sometimes, 
in  maintaining  that  standard  of  tech- 
nical perfection  which  has  brought  them 
world  leadership,  our  Hollywood  cine- 
matographers actually  do  themselves — 
and  their  productions — harm. 

"I  will  admit  I  am  speaking  fresh 
from  having  seen  two  really  exceptional 
French  productions  within  a  relatively 
short  time.  One  of  these  was  'La  Grande 
Illusion';  the  other  'Pepe  le  Moko.'  The 
latter  we  showed  at  a  meeting  of  the 
Screen  Directors'  Guild,  and  had  the 
privilege  of  entertaining  as  our  guest 
its  director,  .lulien  Duvivier. 

"The  action  of  the  film  was  laid  in 
Morocco,  and  the  scenes  were  so  re- 
markably realistic   that   I  immediately 


By  WILLIAM  STULL,  A.S.C. 

visualized  a  long  and  painstaking  lo- 
cation trip  to  northern  Africa.  After- 
ward I  congratulated  the  director  on 
the  excellence  of  these  scenes,  and  was 
amazed  when  he  replied  that  only  a 
very  few  extreme  long  shots  had  been 
made  in  Morocco;  that  nearly  all  of  the 
shots  I  praised  had  been  made  right  in 
his  studio  in  France! 

"It  was  the  same  with  the  other  film, 
which  was  laid  in  a  German  prison  camp 
during  the  war.  I  have  seen  such  things 
in  reality — and  was  amazed  that  such 
a  perfectly  realistic  representation  of 
such  scenes  could  possibly  have  been 
created  in  a  studio  in  another  land. 

"In  both  cases,  the  effect  on  the 
screen  was  precisely  as  though  the  cam- 
eraman had  been  able  to  set  up  his 
camera  and  shoot  the  real  thing,  tech- 
nically limited  by  just  the  same  limi- 
tations  in    time,    lighting    and    so  on 


Ernst  Lubitsch,  Paramount  director, 
ivho  sees  the  world  through  international 
rather  than  national  eyes.  Always  has 
he  been  acknowledged  an  authority  on 
manners  and  matters  Coyitinental,  with 
a  rare  flair  for  subtlety  and  sophistica- 
.  tioti,  for  the  suave  as  opposed  to  the 
brusque.  Along  these  as  well  as  other 
lines  has  he  made  a  distinct  contribution 
to  the  American  screen — and  also  in  de- 
picting the  American  scene. 


which  would  restrict  him  had  be  been 
working  actually  in  Morocco  or  in  a 
wartime  prison  camp. 

"Now,  in  the  average  American  film 
— even  a  Class  B  program  picture — we 
could  create  equally  authentic  sets.  But 
our  camerawork  would  almost  inevit- 
ably tend  to  idealize  them." 

Real  Broadway 

Lubitsch  then  pointed  to  a  concrete 
example.  Most  picture  people,  he  point- 
ed out,  are  familiar  with  New  York's 
Broadway.  Some  of  them  know  it  very 
well  indeed.  But  if  a  film  is  to  repre- 
sent Broadway  it  does  so  with  scenes  of 
such  technical  perfection  that  the  per- 
fection itself  conceals  the  real  Broad- 
way that  director,  cinematographer  and 
all  know. 

"The  result,"  he  says,  "is  as  if  some 
great  still  photographer  like  Steichen  or 
Nicholas  Muray  set  up  his  camera  on  a 
rare  Sunday  morning — after  waiting 
weeks  or  months  for  the  perfect  cir- 
cumstances— and  snapped  his  shutter. 

"The  result  would  be  a  picture  worthy 
of  being  hung  and  admired  in  salons 
the  world  over — but  it  would  not  be  a 
literal  representation  of  the  real  Broad- 
way. It  would  be  idealized.  Perhaps  it 
would  be  the  camera  angle;  perhaps  it 
would  be  the  lighting,  or  the  action. 
But  it  would  be  an  ideal  conception 
rather  than  reality. 

"That,"  he  continued,  "is  what  happens 
all  too  often  in  many  American  films, 
no  matter  what  the  subject  is.  The 
result  may  be  technical  perfection  it- 
self— but  it  is  too  perfect  to  be  the 
real  thing!" 

The  reason  ?  There  are  many,  Lubitsch 
feels.  A  contributing  factor  is  undoubt- 
edly the  star  system  which  for  so  many 
years  has  laid  down  an  iron-clad  tradi- 
tion that  the  star,  no  matter  what  role 
she  may  be  playing,  or  what  the  dra- 
matic circumstances,  must  appear  per- 
fection itself. 

Gilding  the  Lily 

It  is  only  natural  that  when  a  camera- 
man must  invariably  see  to  it  that  the 
star — the  central  element  of  every  shot — 
must  be  photographed  perfectly,  he  will 
expend  commensurate  pains  to  insure 
(Continued  on  Page  59) 


February,  1938    •    American  Cinematocrapher  57 


Over  London  at  Night  Elmer  Dyer 
Flies  on  Nose  of  British  Bomber 


WHAT  more  delicate  gesture  of 
friendship  and  good  will  pos- 
sibly could  have  been  conceived 
by  a  foreigner,  an  American  flying  cine- 
matographer  working  in  his  first  picture 
in  England,  than  just  casually  to  per- 
mit it  to  become  known  to  his  British 
confreres  that  when  working  over  Lon- 
don in  the  making  of  a  stipulated  fog 
sequence  in  order  to  get  the  proper 
density  he  was  impelled,  nay  compelled, 
to  resort  to  the  use  of  a  filter  designed 
to  enhance  the  depth  of  the  murk? 

It  was  many  years  ago  that  some 
one,  very  likely  a  son  of  that  "right 
little,  tight  little"  isle,  suggested  Ameri- 
cans were  confirmed  disciples  of  what 
he  was  pleased  to  term  "shirt  sleeve 
diplomacy." 

But  that  soft  impeachment  cannot  be 
laid  at  the  door  of  Elmer  Dyer,  A.S.C., 
flying  cinematographer  for  M.G.M.,  who 
returned  from  England  with  Mrs.  Dyer 
the  day  before  Christmas.  Nay,  nay. 

But  on  the  subject  of  these  Royal 
Air  Force  men  the  returned  American 
waxes  enthusiastic.  He  knows  not  how 
they  do  what  they  do  in  the  way  of 
blind  flying,  solely  through  the  aid  of 
their  instrument  board,  but  which  cer- 
tainly does  boast  a  raft  of  gadgets 
through  the  aid  of  which  they  do  land 
safely  on  the  ground. 

But  to  get  back  to  the  beginning. 
Elmer  Dyer  was  in  Lexington,  Ky.,  last 
May  working  on  the  picture  titled  "Sara- 
toga," which  will  be  known  in  motion 
picture  history  as  marking  the  farewell 
of  Jean  Harlow,  when  he  was  called 
long  distance  from  the  M.G.M.  studio. 

Quick  Departure 

John  Arnold,  A.S.C.,  head  of  the  cam- 
era department  on  that  lot,  informed 
him  he  had  been  assigned  to  do  an  air 
picture  in  the  new  M.G.M. -British  com- 
pany in  England  and  that  he  was  start- 
ing pronto  on  a  trip  that  might  take 
him  eight  or  even  ten  weeks.  There  was 
a  hurried  journey  home  and  a  quick 
departure. 

Dyer  was  the  first  technician  to  be 
sent  across  the  water  by  the  home  com- 
pany to  do  work  for  the  newly  organized 
British  subsidiary.  The  picture  to  which 
he  was  assigned  was  "Shadow  of  the 
Wing."  In  it  there  was  to  be  abundant 
opportunity  for  the  flyer-photographer  to 
capitalize  the  wide  experience  he  had 
had  in  air  work. 

The  A.S.C.  man  reports  when  he  first 
arrived  in  England  he  found  a  wonder- 
ful sun  and  good  photographic  light, 
but  the  season  is  very  short  for  photo- 
graphic purposes.  As  showing  how  long 
the  days  are  it  often  happened  sunset 
shots  could  be  made  as  late  as  10  o'clock. 


By  GEORGE  BLAISDELL 


Before  he  left  England,  however,  the 
day  closed  at  4  o'clock  or  earlier,  and 
in  December  the  lights  were  on  by  3 
o'clock  and  the  fog  had  begun  to  settle. 

The  absence  of  the  sun  at  many  times 
constituted  a  severe  handicap,  as  it  re- 
quired many  tests.  When  the  sun  did 
come  through,  however,  it  was  beau- 
tifully clear,  there  being  a  pearly  light 
that  gave  excellent  definition. 


"I  have  nowhere  seen  any  more  beau- 
tiful clouds  in  this  country  than  the 
examples  I  found  in  England  of  the 
cumulus  variety,"  declared  Dyer.  "They 
are  of  grand  size  and  make  a  magnifi- 
cent spectacle.  When  flying  to  the  top 
of  them  into  clear  sky  I  found  a  deep 
azure  blue  that  required  very  little 
correction  and  a  subject  that  particu- 
larly lent  itself  to  photography. 

"A  majority  of  times  conditions  were 
against  us.  We  lost  many  hours  in 
(Continued  on  Page  61) 


View  of  the  bomber  with  Elmer  Dijer  in  the  converted  machine  gun  cockpit  at  the 
peak  of  the  ship.  At  the  right  and  just  over  the  bay  for  the  bombs  in  the  lower 
wing  is  the  independent  housing  harboring  the  Akeley  cameraman,  Kay  Norton 


58       American  Cinematographer    •    February,  1938 


Three  Hundred  Men: 

AND  Walt  Disney 

(Continued  from  Page  50) 

tioned  degree  of  movement  between  ex- 
posures. 

In  the  foreground  might  be  one,  two 
or  three  sets  of  celluloids,  perhaps  ani- 
mated, perhaps  merely  moving  past,  but 
proportioned  and  timed  still  differently. 

The  range  of  adjustments  permitted 
by  this  intricate  photographic  set-up  is 
incredible.  Each  of  the  stages  is  ad- 
justable up  and  down  along  the  camera's 
optical  axis,  and  may  as  well  be  swung 
in  any  direction  laterally  —  north  or 
south,  east  or  west,  as  the  Disney  engi- 
neers phrase  it. 

The  camera  itself  is  susceptible  to 
all  of  these  adjustments,  and  may  be  ro- 
tated through  a  full  360  degree  circle 
about  the  lens'  axis,  as  well.  In  all, 
camera,  backgrounds,  foregrounds  and 
animated  action  are  capable  of  no  less 
than  64  separate  and  distinct  adjust- 
ments for  every  frame  exposed! 

Two  engineering  graduates  of  the 
California  Institute  of  Technology  are 
kept  constantly  busy  figuring  out  the 
mathematics  involved  in  drawing  and 
photographing  these  multiplane  scenes. 
Thanks  to  their  efforts  the  problems  of 
actual  photography  are  minimized. 

The  whole  operation  is  charted  on  a 
special  work  sheet  in  which  each  hori- 
zontal column  represents  one  frame  and 
each  vertical  column  the  required  setting 
of  one  possible  movement  of  camera  or 
celluloids.  So  many  of  the  latter  are  re- 
quired that  each  work  sheet  is  more  than 
three  feet  wide! 

Two  Crews 

In  operation  one  crew  takes  exclusive 
care  of  the  camera's  adjustments  and  a 
separate  crew  is  responsible  for  each  of 
the  various  stages  or  planes  being  used 
for  cells  and  backgrounds. 

As  each  crew  completes  the  adjust- 
ments required  for  a  given  frame  of  film, 
a  button  is  pressed.  This  extinguishes 
the  working  lights  on  that  plane,  and 
signals  on  the  master  panel  of  the  crew 
chief  that  that  stage  is  ready.  When 
all  have  reported  ready,  the  chief  presses 
the  button  which  exposes  the  three  nega- 
tive frames  which  make  one  frame  of 
technicolor  positive. 

Until  this  exposure  is  made,  or  until 
a  special  emergency  release  available 
only  to  the  crew  chief  is  pressed,  none 


of  the  stages  can  turn  on  its  working 
lights  or  alter  the  adjustment  of  their 
apparatus.  As  the  exposure  is  made,  a 
guide-ruler  on  the  work  -  sheet  auto- 
matically drops  down  to  the  next  hori- 
zontal column  and  things  are  made  ready 
for  exposing  the  next  frame  of  film! 

Ordinarily,  when  an  animated  car- 
toonist wishes  to  show  a  zoom  or  a 
trucking  shot  it  would  seem  easiest 
merely  to  animate  it  in  the  drawings. 
But  with  Disney's  multiplane  camera, 
and  with  the  Disney  insistence  upon  per- 
fection in  animation,  perspective  and  the 
like,  Walt's  crews  make  real  trucking 
shots.  By  means  of  the  carefully  cali- 
brated adjustments  of  the  camera  stand 
the  camera  can  be  dollied  into  or  out  of 
a  drawn  "set"  as  easily  as  one  would 
dolly  into  a  real  set. 

Another  little  complexity,  explains 
Disney's  chief  technical  engineer,  Wil- 
liam Garrity,  a  Disney  veteran  of  nearly 
a  decade's  service,  is  the  fact  that  in 
many  scenes,  to  secure  not  only  special 
effects,  but  such  relative  commonplaces 
as  open  shadows  and  the  like,  double 
and  triple  exposures  are  resorted  to. 
Believer  in  Research 

Sometimes  special  opaque  mattes  are 
used;  at  other  times,  the  cells  animating 
characters  may  be  exposed  once  in  the 
usual  way,  in  front  of  the  painted  back- 
ground, and  then  a  second  time  against 
a  flat  black  ground.  The  result  is,  as 
was  seen  in  "Snow  White  and  the 
Seven  Dwarfs,"  photographic  quality 
that  could  not  be  obtained  in  any  other 
way. 

With  such  technical  achievements  as 
this  to  his  studio's  credit  and  paying 
tangible  dividends  in  the  advances  shown 
in  "Snow  White,"  Walt  is  a  firm  believer 
in  technical  research.  For  some  years  a 
special  section  of  the  studio  has  been  set 
aside  as  a  practical  proving  ground  for 
every  idea  or  brainstorm  occurring  to 
Disney  technicians. 

From  it  came  the  multiplane  camera 
and  the  use  of  the  wash-off  relief  tech- 
nique. It  is  now  being  reinforced  by  a 
formally  constituted  research  staff,  per- 
manently devoted  to  delving  into  the  pos- 
sibilities of  photographic  and  sound 
technique. 

But  the  most  amazing  thing  about  the 
whole  Disney  enterprise  is  not  the  in- 
tricate technique,  nor  the  way  it  is  put 
to  new  and  delightful  artistic  uses.  It 
is,  instead,  Walt  Disney's  personal  at- 
titude toward  his  epoch-making  expan- 


sion into  the  feature  producing  field. 
Many  successful  producers  of  short 
subjects  have  approached  the  transition 
from  shorts  to  features  defiantly,  or  with 
ill-starred  confidence.  Walt,  the  indus- 
try's most  outstanding  producer  of 
short-length  films,  approached  this  in- 
evitable step  almost  timidly. 

He  knew  short-subject  timing  and  ac- 


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February,  1938    •    American  Cinematographer  59 


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Berndt  -  Maurer,  pioneer  in  the 
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tion,  but  he  admitted  his  ignorance  of 
feature  methods.  He  knew  how  to  tell 
a  story  in  eight  minutes  of  screen  time: 
but  how  would  his  cartoon  technique 
adapt  itself  to  telling  his  tales  in  ninety 
minutes  or  more?  Yet  the  transition 
had  to  be  made;  it  was  inevitable. 

Shorts  to  Features 

So  he  assembled  around  him  special- 
ists of  acknowledged  skill  in  the  making 
of  regular  feature-films,  and  with  their 
aid  launched  upon  the  venture  of  film- 
ing "Snow  White."  Amazingly,  he  an- 
nounced long  ago  that  if  the  feature  did 
not  come  up  to  his  expectations  of  what 
could  be  done  with  the  new  medium,  he 
would  not  release  it,  but  would  shelve 


it,  charging  off  its  six-figure  cost  to 
experience. 

"Snow  White"  has  been  released,  and 
is  playing  to  phenomenal  success  every- 
where. The  former  newsreel  cinema- 
tographer is  the  industry's  latest  feature 
producer.  And  when  the  last  returns 
come  in,  years  from  now,  who  knows 
but  he  may  be  counted  also  as  the  great- 
est, for  his  films  are  ageless  in  their 
appeal,  even  as  "Snow  White"  itself  is 
ageless. 

Disney's  features,  like  the  age-old 
tales  from  which  they  spring,  will,  unlike 
much  contemporai-y  production,  be  as 
appealing  to  audiences  of  all  ages,  races 
and  creeds  a  hundred  years  from  now  as 
they  are  today. 


Camera  I^V irk  Fails  True  Mission 
IVhen  It  Sinks  Realism  for  Beauty 

(Continxed  from  Page  .51)) 


that  every  element  of  his  shot  is  treated 
with  equal  perfection. 

"Understand,"  continued  Lubitsch,  "I 
do  not  say  that  it  is  wrong  to  glorify 
a  beautiful  woman.  Of  course  not!  If 
she  is  beautiful  and  intended  to  seem 
beautiful  in  her  characterization,  by  all 
means  let  us  show  her  on  the  screen  as 
beautiful. 

"But  it  doesn't  seem  necessary  always 
to  take  such  scrupulous  pains  to  see 
that  every  square  inch  within  the  cam- 
era's range  is  lit  and  photographed  with 
such  meticulous  technical  perfection. 
You  know  in  a  still  photographer's  por- 
traits sometimes  we  have  the  negative 
retouched  to  such  an  extent  that  we 
wipe  out  all  the  character  of  a  face? 
Well,  by  overemphasizing  the  pains  we 
take  with  lighting,  diffusion  and  com- 
position it  is  possible  we  may  some- 
times get  the  same  effect  in  our  movies." 

Some  of  it,  too,  may  be  due  to  the 
overabundance  of  physical  resources  at 
the  command  of  Hollywood's  camera 
masters.  As  the  dynamic  little  man 
behind  the  big  cigar  puts  it,  "It  might 
just  possibly  be  that  the  French  camera- 
men who  photographed  the  films  I  saw 
were  better  than  American  cinematog- 
raphers,  but  I  doubt  it. 

Each  Caters  to  His  Own 

"It  certainly  cannot  be  that  these 
Frenchmen  had  more  or  better  equip- 
ment than  we  have  here.    In  all  prob- 


ability they  had  less  equipment — fewer 
physical  resources — than  we  would  find 
in  even  our  smaller  studios.  The  real- 
ism I  admired  might  very  probably 
have  been  achieved  because  of  rather 
than  in  spite  of  this  lack  of  facilities. 

"Because  of  those  limitations,  perhaps 
they  could  not  perfect  their  scenes  as 
we  do  here.  They  did  not  have  the 
means  of  idealizing  everything  as  we 
do.  Instead,  whether  they  wanted  to  or 
not,  they  had  to  be  realistic." 

Lubitsch  feels,  too,  that  there  may 
be  other,  more  personal  reasons  for 
Hollywood's  exaggeration  of  perfection. 
Actors,  he  points  out,  have  at  times 
been  accused  of  acting  more  for  their 
fellow-actors  than  for  the  role;  di- 
rectors, of  directing  more  to  gain  the 
plaudits  of  their  fellow-directors;  critics, 
of  writing  their  reviews  more  for  what 
fellow-critics  will  think  of  the  review 
than  what  the  reviewer  really  thinks  of 
the  film.  Cinematographers,  he  contin- 
ues, may  just  as  easily  slip  into  the 
pitfall  of  planning  their  shots  more  for 
the  approval  of  their  fellow  cameramen 
than  for  the  intrinsic  value  of  the  scenes 
themselves. 

"I  don't  mean  this  in  a  baldly  literal 
sense,"  he  says,  "but  suppose  I  ask  Vic- 
tor Milner  to  photograph  a  scene  in  an 
absolutely  realistic  way.  That  may  mean 
that  he  must  underplay  technical  per- 
fection.    He  must  do  many  things  in 


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60       American  Cinematographer    •    February,  19?.8 


what,  to  a  trained  picturemaker,  will 
be  a  crude  way. 

"Of  course  he  will  try  to  do  it  to 
please  me  as  a  fellow-worker.  But  with 
each  succeeding  'take'  he  will  uncon- 
sciously polish  it  up  a  little.  Always  in 
the  back  of  his  mind  will  be  a  little 
worry  about  what  Charlie  Lang — and 
the  Vic  Milners  and  Charlie  Langs  in 
every  other  studio — will  say  at  seeing 
him  do  a  scene  so  crudely. 

Slap  on  the  Back 

"Of  course,  I  can't  blame  him  for  it. 
That  is  a  pitfall  we  directors  fall  into, 
too.  It  is  so  much  more  pleasant  to  get 
a  slap  on  the  back  from  our  fellows  in 
the  Directors'  Guild  than  to  receive  the 
unseen,  unheard  and  unexpressed  ap- 
proval of  audiences  we  never  see! 

"But  think  what  we  would  gain!  Our 
pictures  would  be  more  real.  Audiences 
would  be  less  conscious  of  having  seen 
a  picture,  and  would  more  nearly  feel 
that  they  had  actually  experienced  things 
with  our  players.  And  of  course  from 


the  production  point  of  view,  you  can't 
lose  sight  of  the  fact  that  this  way  it 
would  take  less  time  to  make  each  scene. 
There  would  be  less  time  spent  on 
hyper-critical  technical  polishing. 

"But  understand,  I  don't  say  every 
picture  should  be  treated  in  this  ultra- 
realistic  fashion.  Some  types  of  story 
demand  it;  others  cannot  stand  it.  Mak- 
ing a  picture  like  "The  Love  Parade," 
which  Victor  Milner  photographed,  or 
"The  Merry  Widow,"  which  Oliver  Marsh 
filmed,  I  would  insist  on  the  ultimate  of 
technical  polish,  for  such  stories  must 
have  romantic  camerawork  that  idealizss 
sets,  players  and  story." 

The  question  was  asked  whether  color 
might  not  be  a  means  to  this  end  of 
realism,  for  the  color  camera  can  at 
times  be  brutally  frank.  That,  to  Lu- 
bitsch,  would  depend  on  the  advancement 
of  the  color  process  used. 

"If  it  gave  perfectly  natural  color," 
he  replied,  "yes.  But  our  present  color 
processes  do  not  give  completely  natural 
color  yet.    They  exaggerate  and  over- 


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Portable  Sound  Recording  Outfits. 
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Holmes  Projectors,  Sound  and  Silent. 

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emphasizK  some  colors.  For  instance, 
looking  at  you  I  am  not  conscious  of 
the  color  of  your  necktie.  But  in  a 
color  closeup  the  camera  would  accen- 
tuate that  faint  green  stripe  in  your 
gray  tie  until  I  could  not  ignore  its 
color.  That  would  defeat  true  realism 
in  many  cases." 

Really,   Who   Ever  Did? 

Another  thing  that  defeats  realism 
in  many  instances  is  too  great  atten- 
tion to  detail  in  designing  and  dress- 
ing sets.  "We  have  all  seen  sets  rep- 
resenting apartments  on  the  screen,"  he 
comments.  "But  tell  me— did  you  ever 
see  an  apartment  in  real  life  that  was 
so  spacious,  so  perfect  architecturally, 
and  so  completely  spic-and-span  as  a 
movie  apartment?  Our  art  directors  try 
so  hard  to  make  their  rooms  seem 
'typical,'  and  architecturally  perfect,  that 
all  too  often  they  succeed  only  in  re- 
fining all  the  character  out  of  them." 

Encouragingly,  Director  Lubitsch  does 
not  feel  that  such  photographic  realism 
is  unattainable  in  Hollywood.  "By  no 
means,"  he  concludes.  "It  has  now  and 
then  been  achieved  already  in  Holly- 
wood-made pictures.  But  these  were 
isolated  instances.  For  example,  there 
was  'Fury'  last  year,  a  realistic  story 
which  Joe  Ruttenberg  photographed 
with  perfect  realistic  camerawork. 

"On  the  other  hand,  both  before  and 
since,  there  have  been  plenty  of  films 
which  laid  claim  to  realism,  but  which, 
to  me  at  least,  seemed  just  a  bit  too 
photographically  perfect  to  be  real.  Do 
not  misunderstand,  though;  I  do  not 
say  this  more  primitive  treatment  should 
be  applied  to  every  film. 

"It  would  be  horrible  in  a  musical,  for 
instance,  and  completely  out  of  place 
in  a  romantic  mythical -kingdom  melo- 
drama like  'The  Prisoner  of  Zenda' 
which,  by  the  way,  James  Wong  Howe 
photographed  exactly  as  it  should  have 
been  photographed. 

"But  since  realistic  camera  treatment 
is  sometimes  necessary,  and  since  some 
films  have  proved  that  our  cinematog- 
raphers  can  use  their  cameras  realistical- 
ly, my  whole  purpose  is  simply  to  re- 
mind Hollywood's  camera  masters  that 
at  times  they  can  prove  their  artistic 
greatness  by  momentarily  subduing  their 
acknowledged   technical  greatness." 


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Illustrated   Literature  on  request 

MOVIOLA  CO. 

1451  Gordon  St.  Hollywood,  Calif. 


February,  1938    •    American  Cinematographer 


Close-up  of  Elmer  Dyer,  A.S.C.,  ivitn 
Ids  two  Bell  and  Howells  in  the  converted 
machine  gun  cockpit  at  the  how  of  th( 
hig  ship,  facing  to  ste7'n. 


Dyer  Flies  Over  London 

(Continued  from  Page  57) 
waiting  for  the  appearance  of  the  neces- 
sary photographic  factors." 

Over   Mount  Everest 

Associated  with  the  American  cam- 
eraman was  S.  R.  Bonnet,  a  Britisher 
for  whom  the  former  has  deep  respect. 
Bonnet  was  a  member  of  the  recent 
English   expedition    which    flew  over 


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Mount  Everest,  the  story  of  which  was 
told  in  the  book  "Top  of  the  World." 
He  is  rated  a  most  capable  man  and 
is  one  of  great  popularity. 

The  highlight  of  the  trip  was  de- 
clared by  Dyer  to  be  without  question 
the  night  the  bomber  on  the  nose  of 
which  his  two  cameras  were  mounted 
followed  the  course  of  the  Thames  River 
and  flew  over  the  city.  It  was  to  be 
a  big  scene  in  the  story  of  "Shadow  of 
the  Wing." 

City  as  well  as  Imperial  authorities 
cooperated  in  waiving  rigid  rules  pro- 
hibiting appearance  of  planes  over  the 
river  and  the  City.  The  occasion  had 
been  deferred  until  a  Saturday  night, 
because  at  that  time  Parliament  would 
not  be  in  session,  and  the  bomber  flying 
in  advance  and  photographing  eighteen 
pursuit   planes   was   due   to   pass  over 


many  prominent  buildings  at  an  altitude 
as  low  as  500  feet. 

So  low  did  the  plane  pass  St.  Paul's 
Cathedral  the  cameraman  declared,  with 
a  faint  trace  of  a  wink,  that  had  he 
put  out  a  hand  he  easily  could  have 
touched  one  of  the  famous  pigeons. 

Many  weeks  had  been  required  to  in- 
duce the  Air  Ministry  and  other  au- 
thorities to  consent  to  the  flight  of  the 
squadron  over  forbidden  ground — and 
water.  To  add  to  the  difl'iculty  of  se- 
curing the  permit  was  the  fact  the 
picture  company  wanted  to  make  the 
flight  at  such  a  low  altitude. 

At  7:30  all  the  lights  of  the  City 
had  been  turned  on.  Piccadilly  Circus 
was  lit  up  like  a  church,  as  the  Ameri- 
can remarked,  with  its  neon  signs.  Shell 
Mexican  Petroleum's  Building  was  a 
beautiful   sight.    All  volunteer  search- 


flCCESSDRlES 

mOYIOLflS 


Motion  PiauRcCRmcRR  SuppiYjnc. 

723  SEVENTH  AVE.  NEW-YORK-CITY 


BRYANT  9-7754 


J.BVRGI  CONTNER  CABLE  CINECAMERA 


FILM  TESTED 


Automatic  Developing  Machines 

Soundolas 

Sensitesters 

Reeves-lites 

Variable  Density  Sound  System 
Variable  Area  Sound  System 
Microphone  Boom 
Sound  Accessories 
Laboratory  Accessories 


ART  REEVES 

MOTION   PICTURE  EQUIPMENT 

Cable  Address:  ARTREEVES 
7512  Santa  Monica  Blvd.  Hollywood.  California  U.  S.  A. 


De  Brie  at  Sacrifice 

New  Type  SUPER  PARVO  DEBRIE 

Ultra  Silent  Camera       No   Blimp  Necessary 

Has  built-in  motor,  automatic  dissolve, 
pilot  pins  and  ant!-bucl<ling  device.  Four 
lOOO-ft.  magazines— 40  mm,  50  mm  and  75  mm 
F2.3  lenses — Mitchell  tripod,  De  Brie  upright 
finder,  set  of  front  attachments.  Leather 
covered  carrying  trunk  and  tripod  cover.  It's 
the  latest  type  equipment  .  .  .  like  new! 

Camera  E«|ui|»mont^  Inc. 

1400  Broadway  New  York  City 

Tel,  Circle  6-5080  Cable:  Cinequip. 


()2       American  Cinematographer    •    February,  1938 


Kay  Norton,  second  cameraman,  with  }ns 
Akeley  in  the  machine  gun  pit  slung 
under  the  big  bomber. 

light  personnel  had  been  assigned  to 
their  emergency  posts  all  over  London, 
ready  to  "turn  'em  on." 

Facing  175  M.P.H. 
It  was   a   thrilling   sight   when  the 
squadron  left  an  airport  eight  miles  be- 


low the  city,  twisting  and  turning  in 
following  the  snakelike  course  of  the 
river.  When  the  City  was  reached  the 
armada  crossed  over  among  other  fa- 
mous buildings  and  structures  London 
Bridge,  the  houses  of  Parliament,  Wa- 
terloo Station  and  Buckingham  Palace. 

The  flight  lasted  just  long  enough  to 
be  covered  by  400  feet  of  film,  which  at 
90  feet  to  the  minute  will  tell  that 
story.  Although  the  pilot  of  the  photo- 
graphing bomber  did  his  best  to  lessen 
the  speed  so  far  as  safety  would  per- 
mit nevertheless  the  American  had  no 
pleasant  time  standing  in  the  open  ex- 
posed from  the  waist  up  to  the  pressure 
of  175  miles  an  hour.  Strain  a  plenty 
was  put  on  the  belt  which  held  him  to  his 
cameras. 

It  is  unlikely  there  will  be  a  repeti- 
tion of  the  permit.  Traffic  on  the  bridges 
became  so  congested  from  the  moment 
the  planes  first  were  heard  until  long 
after  they  had  passed  over  it  was  a 
long  time  before  it  could  be  untangled. 

The  plane  assigned  to  Dyer  and  his 
second  cameraman,  Kay  Norton,  as  a 
rule  was  a  bombing  ship  with  a  speed 
of  200  miles  an  hour.  It  was  stream- 
lined and  not  heavy  according  to  pres- 
ent standards.  While  it  had  been  one 
of  the  best  planes  it  now  has  been 
superseded  by  faster  and  heavier  craft, 
and  no  longer  is  in  the  front  line. 

Two  Cameras 
Dyer  had  his  two  Bell  and  Howells 
planted  on  a  single  gyro  head  on  a 


S.  R.  Bonnet,  po/jiihu-  English  cinenui- 
tographer  and  associate  of  Elmer  Dyer 
in  air  photography  on  "Shadow  of  the 
Wing."  One  of  the  heroes  of  the  flight 
over  Mount  Everest,  the  photographer 
personally  is  most  popular  among  his 
associates. 


converted  machine  gun  mount.  They 
were  so  fastened  one  motor  operated 
the  two,  which  could  be  separated  by  a 
switch.  Usually  they  were  hooked  to- 
gether, as  a  matter  of  insurance  for  one 
reason.  The  two  cameras  had  been 
adapted  for  aerial  work. 

One  instrument  was  equipped  with 
close-up  lens  and  the  other  with  a  wide 
angle,  which  gave  variety  and  ability 
exactly  to  intercut.  Owing  to  the  se- 
vere wind  resistance  encountered  at  a 
speed  of  175  to  200  miles  an  hour  it  was 


NATURAL  COLOR 
8x10  PRINTS  $5.00 

Mounted,    finest   quality    guaranteed,    from  your 

KODACHROME  POSITIVES 

or  TRI-PAC  NEGATIVES 

RUTHENBERG  COLOR   PHOTOGRAPHY  CO. 
"The  Leading  Makers  of  Natural  Color  Photographs" 
4961  Sunset  Blvd.         Dept.  A2         Hollywood.  Calif. 


KEG-LITE 

(2000  watt  spot) 


Equipped  with 

LEAK-PROOF  LENS 

Kills  that  Spill  Light 

Bardwell  &  McAlister,  Inc. 

MOTION  PICTURE  ELECtRICAL  EQUIPMENT 
7636  Santa  Monica  Blvd. 
Hollywood  Hollywood  6235 


Wanled  to  buy  f<A  spot 
CASH 

CAME  1^  AS 

M ireHCLL  »  B€LL  a  HOW€LL 
£YemO°D€BRI€°AK€L€Yetc. 

AceessoRies 

LABORATORY  AND  GUTTING  ROOM 
€QUlP/V\eNT 


Camera  EquiPMCNT,'^' 

I600  flWXV. /».y.c,\   CIRCLE  6- 5080 


February,  1938    •    American  Cinematographer  63 


impossible  to  use  magazines  in  excess 
of  a  capacity  for  400  feet  of  negative. 

Under  the  ship,  in  a  cockpit  ordinarily 
occupied  by  a  machine  gunner  so  placed 
as  to  protect  the  craft  from  hostile 
ships  coming  from  underneath,  was 
parked  Kay  Norton,  second  cameraman, 
with  his  Akeley  camera.  It  was  an 
independent  housing  which  by  a  simple 
releasing  lever  could  be  turned  in  any 
desired  direction,  and  was  so  low  it  just 


WHAT  is  believed  to  be  unique  in 
developing  machine  installations 
has  been  completed  by  the  Jamieson  Film 
Laboratories  for  the  Melton  Barker  Pro- 
ductions. 

The  latter  company  has  been  engaged 
in  the  production  of  local  children's  pic- 
tures in  the  last  few  years  in  the  South- 
west territory. 

Faced  with  the  uncertainty  of  process- 
ing facilities  in  moving  into  new  terri- 
tory Mr.  Barker  requested  Jamieson's 
to  figure  on  installing  a  half  size  de- 
veloping machine  in  a  trailer. 

The  result  was  a  trailer  of  22  feet  and 
6  feet  wide  inside.  A  space  6  by  6  is 
taken  at  the  back  for  a  bedroom  leaving 
a  room  16  by  16  for  the  laboratory 
proper. 

Tanks  are  3  by  3  feet,  of  stainless 
steel,  using  12  gallons  of  solution  and 
holding  130  feet  of  film.  To  save  space 
small  rinse  tubes  from  developer  to  hypo 
and  from  hypo  to  wash  are  placed  above 
the  tanks  and  will  swing  out  of  the  way 
for  removing  racks. 

Temperature  control  is  affected  by 
pumping  water  through  copper  tubing 
soldered  to  the  sides  of  each  tank.  An 
icebox  holding  one  hundred  pounds  of 
ice  will  operate  the  machine  for  half  a 
day  in  hot  weather  and  a  2000  watt  elec- 


Fried   Laboratory  Equipment 

35MM         I6MM  COLOR 
Printers:    Color,    Continuous,    Step,  Optical 
Lite   Testing    Machines   Developing  Machines 

FRIED  CAMERA  CO. 

6154  Santa  Monica  Blvd.,  Hollywood,  Cal. 
Cable:  FRIEDCAMCO 


barely  cleared  the  ground  on  landing. 

Before  the  trip  was  over  Mr.  and  Mrs. 
Dyer  visited  England,  Ireland  and  Scot- 
land, France,  where  he  made  quite  a 
stay  at  Marseilles;  touched  on  the  Span- 
ish border,  where  he  was  within  seventy- 
five  miles  of  the  fighting  zone;  Italy, 
Hungary,  Czecho-Slovakia,  Austria,  Ger- 
niany  and  Brussels. 

A    Second    Installment    of    this    story  ivill 
appear  in  an  early  issue. 


trie  heater  will  maintain  the.  proper 
temperature  in  the  coldest  weather. 

Steady  Temperature 

A  constant  pressure  regulating  device 
maintains  a  constant  flow  of  cooling 
water  in  any  predetermined  amount  mak- 
ing it  possible  to  maintain  a  constant  de- 
veloping temperature  within  one  half 
degree  of  65  degrees. 

The  motors  of  speed  control  and  air 
compressor  are  mounted  on  top  of  wheel 
housing  extending  out  13   inches  from 


wall.  Tanks  with  insulation  add  20  inches 
to  this,  leaving  20-inch  aisle  and  a  13- 
inch  cork  table  on  the  other  side.  The 
circulating  pump  is  placed  under  the 
icebox. 

An  instrument  panel  contains  a  speed 
indicator,  remote  dial  thermometer  for 
developing  temperature,  a  thermometer 
for  room  temperature,  cooling  regulator 
and  a  switch  box. 

Upon  leaving  the  wash  water  the  film 
passes  through  an  air  squeegee  to  re- 
move surplus  water  and  on  to  a  drier 
which  holds  1700  feet.  This  easily  han- 
dles 2000  feet  an  hour  which  is  the  ca- 
pacity at  four-minute  development. 

The  drier  is  30  inches  wide  and  6  feet 
long  inclosed  with  glass  doors.  Air  is 
drawn  from  the  trailer  and  exhausted  to 
the  outside  through  a  light  trap. 

The  trailer  has  been  used  on  several 
pictures. 

T 

Technicians  Meet 

At  a  meeting  of  the  Technicians 
Branch  of  the  Academy  January  19  at 
Paramount  Studios  papers  were  read  by 
Dr.  Herbert  Meyer  and  Wilson  Leahy  on 
the  new  Agfa  picture  films  and  by  Gor- 
don Chambers  and  Gerald  Best  on  the 
new  Eastman  sound  recording  films. 
Gerald  Rackett  presided. 


FAXON  DEAN 

INC. 

CAMERAS 

BLIMPS-DOLLYS 

FOR  REXT 
MO.  11S3S 

4516  Sunset  Boulevard     Night,  No.  Hollywood  1271 


Jamieson  Completes  Portable 

Motion  Picture  Laboratory 


64 


American  Cinematographer 


February,  1938 


When 


READY  FOR 

ACTION/,.,. 

anothp:r  scoof^  for 
universal  inewsreel 

—AND  DeVRY 

A  NEWSREEL  STORY  BREAKS 

.  .  .  and  action  is  rapid,  tense  .  .  .  the  cameraman  must  be 
ready.  Every  important  scene  and  sequence  sighted  through 
your  finder  must  register  distinctly  and  clearly.  That  is 
why  Norman  Alley  and  many  other  well-known  newsreelers, 
explorers,  and  producers  have  chosen  DeVry  sound  and 
silent  cameras.  THEY  KNOW  THAT  DEVRY  IS  ALWAYS 
READY  FOR  ACTION. 

Norman  alley's  epochal  panay  pictures 
were  not  the  first  scoops  made  with  a 
devry,  and  will  not  be  the  last  ones. 

Every   day   more   professional   cameramen    and  dis- 
criminating amateurs  are  learning — 

"You're  Safe  When  You  Buy  DeVry" 

DeVRY  35mni  ami  16mni 
CAMERAS 
Sound  and  Silent 
Details  on  Request 


DeVRY  CORPORATION 

Dept.  A-1,  1111  Armita^e  Ave.,  Chicaeo 


**I  am  now  even  a 
more  ardent  booster  lor 
your  cameras  than  I  was 
be  fere,  if  that  is  possible, 
Mr.  DeVry,  and,  also.  I 
want  to  extend  congratu- 
la  ions  to  you  as  thi- 
manufacturer  of  a  cam- 
era that  played  a  most 
worthy  part  in  making 
my  Panay  film  possible." 

Left — Pre-.  H.  A.  DeVry 
and    Norman  Alley 


What  About 


( Continued  from  Pac/e  51 ) 

The  January  issue  of  American  Pho- 
tography prints  a  complete  and  very  il- 
luminating' article  by  Varden  and  Har- 
man  Junior  of  the  Agfa  Ansco  Cor- 
poration of  New  York  on  Agfa's  new 
Hi-speed  stock.  If  the  news  stands  can't 
!  upply  you  with  a  copy  of  the  magazine 
at  this  printing  you  will  find  a  well 
■worn  copy  in  the  A.S.C.  files  ....  Dear 
Bermuda:  Paul  Perry  is  at  present  lo- 
cated in  Buenos  Aires,  S.  A.,  where  he 
ha<  established  a  laboratoi-y  and  is 
pioneering  general  motion  picture  pho- 
tog-aphy.  His  brother,  Harry  Perry, 
can  be  reached  by  writing  in  care  of 
A.S  C,  Hollywood  ....  Leo  Tover  will 
do  I'aramount's  "Cocoanut  Grove"  .  .  .  . 
Artf'UR  Todd  is  doing  "Crime  School" 
for  "Vk'arners  ....  My  assistant  says,  "A 
reput.ition  does  not  make  a  beautiful 
close-tp  ....  That  it's  what  you  photo- 
graph \oAay  that  counts  ....  That 
yesterday's  ideas  are  old  fashioned  .  .  .  . 
That  th-'  first  ninety-nine  years  of 
'throwing  the  tape  at  the  cast'  is  the 
hardest  ....  That  lens,  camera  and  film 


manufacturers  can't  SELL  cinematog-  Jamicson  Film  Lnhoratorien  has  just  completed  installation  of  automatic  develop- 
raphers  Li^jht  Balance."  ing  machine  in  portable  motion  picture  laboratory. 


yesterday — 

today — 

tomorrow! 


EASTMAN 

SUPER  X 

PANCHROMATIC 
NEGATIVE 

J.  E.  BRULATOUR,  INC. 


^LMOSOUND  PROJECTORS 


FILMOSOUND  138 

Especially  quiet  new  two-case  model 

$410 


Was  M90 


NOW  ONLY 


You  can  now  have  a  genuine  Bell  &  Howell  16 
millimeter  Filmosound  Model  138  sound  film  pro- 
jector for  less  money  than  ever  before!  The  new 
two-case  model  pictured  above  is  now  only  $410 — 
$80  under  the  former  price.  The  single-case  model 
is  reduced  from  $465  to  $385! 

These  drastic  price  reductions  are  made  possible 
because  of  the  popularity  of  the  138's! 

Since  the  introduction  of  the  Filmosound  138  a 
steady  flow  of  quantity  orders  from  industrial  film 
users  and  schools,  supplemented  by  an  increasing 
demand  from  individual  motion  picture  enthusiasts, 
has  so  increased  our  production  that  these  reduced 
prices  are  now  possible,  notwithstanding  constant 
improvement  in  design. 

Filmosound  138  projects  both  silent  and  sound 
films,  has  reverse  lever,  projects  single-frame  "stills," 
and  has  an  exclusive  speaker-hiss  eliminator,  which 
is  especially  desirable  at  low  sound  volumes.  "Float- 
ing film"  protection,  750-watt  lamp,  1600-foot  film 
capacity,  and  sound  volume  and  picture  brilliance 
adequate  for  audiences  up  to  500  are  other  features 
of  these  popular  models.  There  are  other  Filmo- 
sounds,  including  the  1000-watt  Model  130,  for 
larger  audiences.  Mail  the  coupon  for  full  details. 
Bell  &  Howell  Company,  Chicago,  New  York, 
Hollywood,  London.  Established  7907. 

NEW     FILMOSOUND     LIBRARY  RELEASES 


FILMOSOUND  138 

SINGLE-CASE  MODEL 
REDUCED  FROM  $465  TO  $385 

Popular  one-case  model  for  unusual  ponabiliiy. 
Possesses  the  same  exclusive  features  as  the 
two-case  model  and  the  same  typical  Bell  & 
Howell  precision  craftsmanship.  Send  coupon 
for  full  description 

FILMO   JJ  PROJECTOR 

Belou-,  right — Finest  personal  i6  mm.  projector. 
Fully  gear-driven  with  geared  power  film  re- 
wind— no  chains  or  belts;  750-watt  lamp,  fast 
F  1.6  lens,  variable  voltage  resistance  and  volt- 
meter. Reverse  switch,  clutch  for  safe  still  single- 
frame  proiection,  separate  lamp  switch,  two- 
way  tilt,  and  radio  interference  eliminator 

FILMO   8  MM.  PROJECTOR 

Below,  lejl — Brilliant  illumination  from  400-  or 
500-watt  lamp  through  fast  F  1.6  lens.  Film- 
registering  mechanism  identical  with  that  of 
Filmo  8  mm.  Cameras,  to  provide  rock-steady 
screen  pictures.  May  be  stopped  for  still  pro- 
jection. Rapid  automatic  rewind.  "Floating  film" 
protection  throughout.  Capacity,  200  feet  of 
8  mm.  film 


Abraham  Lincoln.  A  ten-reel  16  mm.  sound  film  starring 
Walter  Huston,  directed  by  D.  W.  Griffith, 

March  rf  ''.le  Movies.  An  authentic,  thrilling  cavalcade  of 
"the  pictures  that  move,"  from  Egyptian  temple  paintings 
to  modern  talkies.  120  stars  of  early  and  modern  times. 
Six-reel  16  mm.  sound  film. 


Spinning  Spokes.  Produced  by  high  school  students,  this  one- 
reel  16  mm.  silent  film  dramatizes  lessons  in  safe  bicycling. 

World  "Down  Under."  Three-reel  16  mm.  sound  film  on 
Australia. 

America's  Lost  Frontier.  The  Texas  borderland.  One-reel 
16  mm.  sound  film. 


BELL  &  HOWELL  COMPANY  AC2-38 
1848  Larchmont  Avenue,  Chicago,  Illinois 

Please  send  me  full  information  about: 
(  )  Filmosound  Projectors,  (  )  Filmo  Silent 
Projectors,  (  )  Filmo  8  mm.  Projectors, 
(  )  Filmo  16  mm.  Cameras,  (  )  Filmo  8  mm. 
Cameras,  (    )  Filmosound  Library 


Name . 


Address . 


City. 


.State. 


BELL  &  HOWELL 


American  Cinematographer 
Amateur  Movies  Section 


I 


DO 


E  doti't 


'neati  the  children  \v/ 


YOU  KNOW  THESE 


day  or  night 


outdoors  or  indoors 


-      '-•'"a^'nKly  more  brilliant  and 


Ih'p'iu  comes 

"1  50-foot  rolls  at        2S    v  , 


TWO? 


remarkable  depth 
brilliance 
detail. 


Corporation  in  Bln«i.*  *"»«o 
"'"9hon,ron,  New  York. 


AGFA 


16mm 


February,  1938    •    American  Cinematographer 


AMATEUR  MOVIE 

SECTION 


Contents.... 

Major  Theatre  Sound  Apparatus  Put 
Behind  Home  16mm  Projection  70 


Columbia  Studio  Professionals  Barred 
gQ^Jg^Y  C"^^  Regular  Work  72 

OF  AMATEUR 

Competitors  in   Cinematographer  Con- 

CINEMATOGRAPHERS  """"^  "^''"^^ 

"Film   and   School"   Textbook  Teaches 
Screen   Evaluation  78 

BOARD  OF  REVIEW 

Here's    Complete    Musical    Scores  for 

Victor  Milner,  President,  A.S.C.,  Director 

of  Photography  Paramount  Studios,  Acad-  International  Prize  Winners  79 

emy  Award  Winner  1935  By  William  Stull,  A.S.C. 

Karl  Struss,  A.S.C,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award  Authority  on  "What  It  Takes"  Writes 
Winner  1928 

Views  on  Moviemaking  81 

Fred  W.  Jackman,  Treasurer  American  So-  By  Duncan  MacD.  Little 

ciety  of  Cinematographers 

Dan   Clark,   A.S.C,   Director   of  Photog-  „„.  ,  ^4.-      m-  j. 

,     _,     V.  ^,    „ '  „  Hmts  and  Gadgets    Contams  Tips  to 

raphy  Twentieth  Century-Fox 

Working  Camerists   85 

Tony  Gaudio,  A.S.C,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 

Award  Winner  1937  Notes  of  the  Movie  Clubs  86 


70       American  Cinematographer    •    P'obruary,  1938 


Major  Theatre  Sound  Apparatus 
Put  Behind  Home  16mm  Projection 

Angeleno  Designs  and  Builds  Residence  Around  de 
Luxe  Equipment  That  Realizes  Dreams  of  Amateurs 
the  World  Over — Three  Projectors  Have  Flat 
Throw  to  Eig-ht  Foot  Screen — Living  Room 
Restored  by  Simply  Releasing  Screen 


IT  is  no  longer  particularly  unusual 
for  an  amateur  filmer  to  dedicate  a 
room  of  his  home  more  or  less  ex- 
clusively to  home  movie  projection.  But 
when  an  amateur  literally  designs  and 
builds  a  new  home  around  a  de  luxe 
16mm.  projection  theatre — then,  ladies 
and  gentlemen,  the  proverbial  dog  has 
been  bitten!   It  is  news  in  a  big  way. 

That  is  exactly  what  one  California 
cinefilmer  has  done.  He  is  not,  be  it 
understood,  a  projection  room-conscious 
movie  star  or  executive,  but  an  ordinary 
business  man  with  a  passion  for  16mm. 
moviemaking,  and  the  technical  knowl- 
edge wherewith  to  create  a  sub-stand- 
ard sound  and  picture  projection  lay- 
out in  many  ways  superior  to  the  best 
that  can  be  found  in  many  35mm.  movie 
houses. 

On  the  other  side  of  the  ledger,  the 
man's  modest;  he  refuses  to  let  us  even 
whisper  his  name  which,  for  this  achieve- 
ment, certainly  ought  to  be  headlined  in 
big  type. 

For  our  own  part,  we'll  be  hanged  if 


we'll  call  a  good  guy  "Mr.  X"  or  any- 
thing like  that,  so  we'll  simply  forget 
about  names  and  tell  you  what  we  saw 
and  heard  the  other  day  when  he  ushered 
us  into  the  finest  amateur  (or  profes- 
sional) sub-standard  projection  room 
we've  ever  seen  or  imagined. 

He  took  us  into  the  living  room  of 
an  obviously  new  and  very  livable  home, 
and  said,  "Well,  here  it  is.  Find  the 
projection-room!"  We  looked  around.  At 
one  end  of  the  room  was  a  big  bay- 
window  with  a  comfortable  looking,  re- 
cessed seat.  Thirty-two  feet  away  was 
the  other  end  of  the  room,  lined  with 
well-filled  bookshelves. 

Behind  the  Bookcase 

But — wait  a  minute!  A  couple  of 
these  shelves  aren't  filled  as  solidly  as 
the  rest.  There  are  three  good-sized 
gaps  between  the  books,  and,  yes,  behind 
those  gaps  are  glazed  projection  ports! 

When  we  had  spotted  that  much,  our 
host  smilingly  solved  the  rest  of  the 
problem  for  us.    He  strode  down  the 


room  to  the  recessed  window-seat,  and 
opened  what  seemed  to  be  a  cupboard 
door  beneath  it  to  reveal  the  masked 
cone  of  a  low-frequency  loudspeaker. 

Then  he  raised  the  seat  of  the  bench 
and  propped  it  up,  revealing  a  cellular, 
high-frequency  speaker  of  standard  the- 
atre type.  Then  he  reached  up,  and 
pulled  down  an  eight-foot,  beaded  screen. 

The  "reserved  seat"  section  of  his 
auditorium  consisted  of  an  ideally-placed 
divan  facing  the  screen,  and  the  "gen- 
eral admissions"  could  group  themselves 
in  chairs  almost  as  they  chose  in  the 
big  18  by  32  foot  room. 

Then  he  led  the  way  to  the  projection 
booth  itself.  It  was  only  with  the  great- 
est of  fortitude  that  we  restrained  from 
committing  mayhem,  racketeering  and 
sundry  other  off'enses,  for  it  was  the 
projection  layout  of  any  cinefilmer's 
dreams,  and  we  frankly  covet  it. 

The  first  thing  that  caught  our  eye 
on  entering  the  8  by  8  foot  room  with 
nine  foot  ceiling  was  of  course  the 
triple  threat  battery  of  projectors. 

For  16mm.  projection  there  were  two 
Ampro  machines,  equipped  with  750- 
watt  lamps  and  a  very  special  sound 
pick-up.  (We'll  come  to  that  later!) 
Beside  them  was  a  Bell  &  Howell  8mm. 
projector,  which,  with  its  500-watt  lamp, 
succeeds  in  filling  the  big  eight-foot 
screen  with  a  satisfactory  picture. 

Each  projector  stood  on  its  individual, 
wooden  stand.  The  stands  were  built 
for  uncommon  rigidity,  and  projectors, 
stands  and  all  were  rigidly  anchored 
in  place. 

Glass  Optical  Flat 

Attention  next  centered  on  the  win- 
dows through  which  the  pictures  are 
projected.  It  is  one  thing  to  have  effi- 
cient projectors — but  it  is  quite  some- 
thing else  to  expect  them  to  throw  a 
good  picture  through  ordinary  glass,  or 
even  plate  glass. 

These  three  projection  windows  turned 
out  to  be  the  finest  "optical  flats" — 
optical  glass  ground  and  polished  to 
eliminate  all  trace  of  distortion,  with 
the  two  surfaces  optically  parallel. 

Conveniently  placed  above  these  pro- 
jection ports  were  three  generous  sized 
plate  glass  windows  through  which  the 


February,  1938    •    American  Cinematographer  71 


Side  shot  uf  bookcase  concealing  three  projection  ports  and  three  viewing  ivindows. 
The  projection  room  floor  is  perhaps  IJ,  inches  above  the  level  of  the  living  room. 


projectionist  can  follow  the  picture  on 
the  screen.  In  many  theatres  these  nec- 
essary windows  are  small  and  unhandily 
situated;    but   here    they    are  ideal. 

The  projection,  it  may  be  mentioned, 
is  on  an  absolutely  straight  line  from 
projector  to  screen.  The  lens  of  the 
center  projector  is  directly  aligned  with 
the  center  of  the  screen.  No  chance 
for  keystone  distortion  such  as  comes 
when  projectors  are  either  higher  or  low- 
er than  the  screen! 

Between  the  two  16mm.  projectors 
was  the  sound  system's  amplifier  and 
control  panel.  A  single  master  switch 
controls  the  power  to  the  whole  sound 
and  picture  installation,  and  separate 
switches,  of  course,  control  each  pro- 
jector. Another  master  switch,  placed 
on  the  wall  above  the  amplifier,  con- 
trols the  "house  lights" — the  lights  in 
the  living  room-auditorium. 

The  sound  pick-ups  on  the  two  16mm. 
projectors  were  specially  built.  They 
follow  professional  practice  throughout, 
and  assure  far  more  nearly  perfect 
movement  of  the  film  past  the  sound 
scanning  aperture  than  is  possible  in 
commercially  available  16mm.  sound-on- 
film  projectors. 

Ultra  High  Fidelity 
This  is  an  imperative  necessity  be- 
cause of  the  ultra  high  fidelity  amplifier 
system,  which  brings  out  sound  quali- 
ties never  heard  on  even  the  best  com- 
mercial 16mm.  sound  systems,  and 
would  naturally  magnify  any  defects  as 
thoroughly. 

Our  host  told  us — and  we  can  believe 
him — that  these  special  sound  move- 
ments are  freer  from  "flutter,"  "wows" 
and  other  evidences  of  irregular  film 
movement  than  any  16mm.  sound  sys- 
tem ever  built. 


The  amplifier  is  virtually  a  standard, 
high  fidelity  professional  type,  capable 
of  providing  the  finest  quality  sound 
for  a  theatre  of  1500  seat  capacity.  Its 
output  is  60  watts.  With  such  power, 
the  system,  as  can  be  imagined,  is  never 
extended  to  the  full  in  providing  acous- 
tical entertainment  for  home  audiences! 

The  amplifier  is  a  massive,  21-tube 
affair  with  literally  every  refinement — 
equalizers,   attenuators,   etc.,   that  can 


be  found  in  a  theatre  type,  high  fidelity 
installation.  The  only  difference,  in  fact, 
is  that  the  sound  is  picked  up  from 
16mm.  rather  than  35mm.  film. 

The  sound  is  monitored  through  a 
loudspeaker  in  the  projection  booth. 
None  of  the  monitored  sound  can  es- 
cape into  the  auditorium  through  the 
six-inch,  soundproofed  walls. 

Out  in  the  "auditorium"  the  sound 
quality  baffles  description.  It  would  be 
exceptionally  fine  reproducing  from  a 
35mm.  high  quality  sound  track;  from 
16mm.,  it  is  nothii.g  short  of  incredible. 
We  heard  several  records,  including  one 
standard  16mm.  sour.d-on-film  test  re- 
cording which  we  had  heard  several 
times  previously  on  other  projectors. 

Do  Many  Things 

At  the  risk  of  being  guilty  of  abus- 
ing an  overworked  phrase,  we  must  con- 
fess it  sounded  like  an  absolutely  dif- 
ferent recording  from  the  one  we  knew 
it  to  be.  This  theatre  type,  high  fidelity 
sound  system  brought  out  tone  quality 
no  portable  sound  system  can  draw  from 
the  film. 

But  playing  sound  film  records  is  by 
no  means  all  that  this  equipment  can  do. 
Inside  the  booth  are  two  non-synchro- 
nous disc  record  turntables  by  which  or- 
dinary phonograph  records  can  be  played 
through  the  big  amplifier  and  speakers 
for  scoring  silent  16mm.  or  8mm.  films 
— or  even  for  ordinary  phonograph  serv- 
ice. The  radio,  too,  works  through  this 
reproducing  system,  with  equally  in- 
credible results. 

One  might  begin  to  wonder  if,  with 
three  projectors,  the  amplifier  and  twin 
turntables,  this  projection  booth  might 
(Continued  on  Page  S7) 


View  of  end  of  room  in  which  screen  has  been  drawn  down  like  a  window  shade 
and  fastened  by  small  hook,  the  lid  dj-opped  exposing  low  frequency  cone  and, 
above,  high  frequency  cellular  speaker  under  lifted  shelf 


72       American  Cinematogkapher    •    February,  1938 


Columbia  Studio  Professionals  Are 
Barred  by  Cubs  from  Own  JV irk 

Amateur  Group  Preserves  Status  of  All  Members  by 
Assigning  No  One  to  Do  That  with  Which  He  Is 
Familiar — Writer  May  Hold  Reflector 
But  Cannot  Work  on  Script 


ABOUT  two  years  ago  the  thought 
of  an  amateur  movie  club  to  be 
formed  at  Columbia  Studio  started 
to  grow  on  me,  and  with  a  few  friends 
I  sent  out  a  circular  to  the  studio  em- 
ployees to  get  their  reaction  to  such  an 
idea.  The  response  was  instantaneous 
and  overwhelming,  and  after  our  first 
meeting  we  started  work  on  the  first 
production,  called  "Lucky  Piece." 

We  experienced  the  usual  difficulties  in 
organization  and  planning  that  any  club 
in  the  embryonic  stage  has  to  undergo, 
but  when  our  initial  effort  was  near- 
ing  completion  we  decided  to  get  to- 
gether the  old  loyal  standbys  and  weed 
out  those  who  had  lost  interest — and 
reorganize.  It  was  at  this  time  we  ex- 
perienced our  first  symptoms  of  "grow- 
ing pains." 

It  was  discovered  that  we  had  many 
loyal  members — in  fact,  too  many  for 
an  ordinary  club,  shooting  one  picture 
at  a  time,  to  keep  busy  (incidentally, 
the  only  way  to  keep  such  a  club  ac- 
tive, especially  in  a  busy  studio,  is  to 
keep  ALL  its  members  busy  at  ALL 
times  of  production),  so  we  decided  upon 
the  unit  system. 

Our  plan  for  the  coming  year  was  to 
form  four  units — one  major  unit  and 
three  minor  units. 

Four  Units 

Our  Unit  B,  Unit  C  and  Unit  D  were 
to  make  simultaneously  one  picture  over 
a  period  of  three  months  (shooting  only 
Sundays  and  a  week  night  occasionally), 
and  at  the  end  of  this  period  take  the 
results  of  each  unit's  activities,  project 
them  before  the  entire  club  for  criticism, 
discussion,  suggestions  and  selection  of 
various  outstanding  qualifications  in 
each  picture. 

This  three-month  period  may  seem 
long,  but  we  allowed  for  accidents  and 
disappointments,  because  it  was  essen- 
tial we  have  100  per  cent  attendance 
on  each  shooting  day. 

Each  of  the  Units  B,  C  and  D  are  com- 
plete in  themselves,  with  staff  of  super- 
visor, director,  assistant  director,  cam- 
eramen, cutters,  cast  et  al.  Each  unit 
is  entirely  controlled,  independently 
from  its  competitor  units,  by  one  of  its 
members,  usually  d  signated  by  the  title 
of  "supervisor.' 

Story  selection,  assignment  of  staff 
and  casting  all  have  to  go  through  his 
hands,  locations  are  approved  by  him. 


By  BOB  H.  KING,  S.A.C. 

President  Columbia  Cub  Productions 

and  he  lines  up  shooting  schedules. 
From  there  on  most  of  the  responsibility 
rests  with  the  director  and  his  staff. 

At  the  end  of  this  three-month  period, 
when  the  pictures  made  by  these  three 
independent  "producers"  are  screened, 
the  officers  of  the  club  form  a  Unit  A, 
drafting  its  members  from  the  three 
units  participating  in  the  first  initial 
productions,  taking,  for  instance,  the 
best  directing  effort,  the  best  camera 
work,  the  most  likely  of  the  cast  and 
so  on,  until  they  have  formed  a  com- 
plete A  unit. 

One  Major  Unit 

Unit  A  is  now  ready  for  the  making 
of  a  picture,  the  story  already  having 
been  selected  by  the  officers,  and  they 
proceed  to  make  one  major  picture  for 
the  club,  the  officers  acting  in  official 
capacities  for  that  unit. 

The  three  other  units  have  been  de- 
pleted in  ranks,  but  new  members  com- 
ing into  the  club  will  take  care  of  this 
loss  of  personnel  and  we  then  have 
four  producing  companies  in  full  sway. 

The  system  at  that  point  begins  to 
operate  as  before  for  the  next  three- 
month  period,  and  for  every  three 
months  thereafter  repeats  itself.  After 
Unit  A  has  completed  a  picture  the 
staff  and  personnel  (except  the  officers) 
who  have  come  originally  from  the 
three  minor  units  are  given  different  as- 
signments back  in  the  minor  units  for 
another  "judgment  day." 

Members  dropping  out  of  the  club  and 
members  joining  the  club  keep  its  per- 
sonnel fresh  and  active  at  all  times. 

Out  total  membership  runs  about 
fifty,  pretty  evenly  divided  as  to  sex. 
This  leaves  approximately  twelve  mem- 
bers to  each  unit,  which  is  sufficient  for 
our  purposes.  During  our  first  three- 
month  period,  of  course,  there  were  a 
few  members  not  actively  engaged  in 
production,  but  we  managed  it  so  that 
these  members  were  our  story  writers 
and  they  vv^ere  kept  busy  writing  a  suit- 
able story  for  our  first  Major  picture. 

8mm.  or  16mm.  as  Preferred 

Inasmuch  as  we  have  exponents  in 
both  the  making  of  8mm.  and  16mm. 
pictures  we  leave  it  up  to  each  unit  as 


to  which  they  prefer.  Each  unit  bears 
the  cost  of  making  its  own  picture  and 
the  cost  of  the  major  picture  is  borne 
by  the  club  fund. 

They  hold  their  own  meetings,  sepa- 
rate and  apart  from  each  other,  and 
apart  from  the  regular  club  meetings 
held  twice  a  month. 

Production  Unit  A,  in  making  their 
choice  for  talent  from  the  A,  B,  and 
C  units,  base  their  selections  upon  merit 
or  ability  as  demonstrated  on  the  screen 
and  do  not  take  into  account  whether 
8mm.  or  16mm.  film  was  used. 

Selections  are  made  by  the  president, 
vice  president  and  secretary-treasurer 
with  the  aid  of  the  heads  of  the  three 
independent  units. 

In  our  application  for  membership 
form  we  have  asked  prospective  mem- 
bers what  particular  line  of  endeavor 
they  wish  to  follow.  Sometimes  they 
want  to  try  acting,  sometimes  camera 
work  and  a  lot  of  times  directing. 

As  closely  as  possible  we  follow  their 
desires  in  making  assignments,  but  we 
always  ask  for  their  second  and  third 
choice.  After  they  have  completed  a 
picture  as  an  actor  their  next  assign- 
ment might  be  holding  a  reflector  and 
their  third  to  be  a  director.  In  this 
way  each  member  gets  a  broader  un- 
derstanding of  the  problems  which  face 
professional  motion  picture  companies 
and  in  practically  all  cases  our  method 
works  out  to  perfection. 

Regular  Stock  Plan 

After  a  year  has  elapsed  one  member 
might  be  in  turn  script  clerk,  wardrober, 
cameraman,  actor,  writer,  director — all 
according  to  his  desires  and  his  talents. 

In  our  club  membership  are  included 
a  few  members  who,  while  they  are 
amateurs  as  far  as  actual  picturemak- 
ing  is  concerned,  might  be  called  "pro- 
fessional" in  a  strict  sense  of  the  word. 

Instead,  he  puts  his  efforts  into  a 
line  totally  unfamiliar  to  him  and  to 
which  he  is  actually  an  amateur.  The 
same  procedure  is  true  of  a  writer.  No 
stories  can  be  accepted  from  a  mem- 
ber who  makes  his  living  writing. 

This  system  makes  for  splendid  re- 
sults with  our  club  of  approximately 
half  a  hundred,  and  we  have  little  if 
any  friction  on  our  shooting  days,  be- 
cause each  member  has  a  specific  duty 
to  perform  and  is  accountable  only  for 
that  work  alone. 


February,  1938    •    American  Cinematographer  7 


COLUMBIA  CUB  PRODUCTIONS 

PRESENTS 

THE  CAST  AND  CREW  OF  ITS  FIRST  EPIC 

"LUCKY  PIECE" 

-Reproduction  of  card  posted  in  Columbia  Studio  following  completion  of  undoubtedly  the  first  and  prob 
ably  the  last  amateur  picture  to  be  made  in  major  studio  with  major  35mm.  equipment. 


Top  row,  L  to  R 
— Bill  Barron 
and  Don  Star- 
ling, two  leads  in 
"Litckii  Piece." 
Bob  King,  Presi- 
dent of  Columbia 
Cub  Productions. 
Bill  Barron  in 
another  pose. 


Next  row  —  Conipani/  on 
location  at  Metropolitan 
Airport.  Lining  up  for 
first  interior  shot,  Miss 
Gravelie  looking  through 

camera. 
Next  roiv  —  Relaxing  be- 
tween shots.  Miss  Kamp- 
schroer  and  Charlotte 
Richards.  Two  principcds 
in  a  scene  from  "Luckij 

Piece." 
Bottom  row  —  At  Keller, 
director,  at  right  lighting 
for  an  interior.  The  crew 
watches  rehearsals.  Stills 
by  Bob  Kampschroer. 


74       American  Cinematographer    •    February,  1938 


Competitors  in  Cinematographer 
Contest  Gave  Jury  Plenty  To  Do 

'Ships  of  Sydney'  Wins  First  Laurels  Because  of  Photographic 
and  Artistic  Technique — 'Mount  Zao'  Presents  Sharp 
Contrast  to  Former  Japanese  Films — John  Walter 
Only  8mm.  Entrant  to  Hit  First  String- 


THE  1937  international  amateur 
movie  contest  of  the  American 
Cinematographer  is  now  history. 
F'or  those  of  us  privileged  to  sit  as  mem- 
bers of  the  judging  committee  the  end 
of  the  contest  maiked  the  termination 
of  a  three-week  period  during  every 
afternoon  of  which  we  assembled  in  the 
library  of  the  A.  S.  C.  clubhouse  for  a 
two  or  three  hour  session  of  viewing 
and  reviewing  contest  films. 

In  this  connection,  the  word  "review- 
ing" is  used  in  its  most  literal  sense, 
for  the  preliminary  judging  of  the  con- 
test was  done  by  a  process  of  painstak- 
ing elimination;  few  films  were  viewed 
by  the  judges  less  than  twice,  and  in 
many  instances  comparable  films  were 
run  and  rerun  before  the  judges  regret- 
fully decided  this  one  or  that  must  be 
eliminated. 

So  close  was  the  competition  that  in 
many  instances  these  decisions  were  ex- 
tremely difficult. 

In  the  final  judging,  however,  one  film 


By  One  of  the  Judges 

stood  out  above  the  field.  This  was  James 
Sherlock's  beautiful  kodachrome  entry, 
"To  The  Ships  of  Sydney."  With  the  ex- 
ception of  one  short  sequence  in  which 
the  intense  illumination  of  a  sunny  day 
and  white-sailed  ships  apparently  proved 
deceptive,  the  photographic  and  artistic 
technique  of  this  film  were  virtually 
flawless. 

Photographed  under  widely  varying 
and  often  difficult  conditions  of  lighting 
and  subject  matter,  this  film  is  of  almost 
professional  excellence  in  the  uniformity 
of  its  exposures  and  color  renderings. 

Composition  Strong 

But  much  moi-e  this,  what  won  the 
film  its  high  ultimate  place  was  the  out- 
standing excellence  of  its  composition. 
As  one  member  of  the  committee  re- 
marked, Sherlock's  treatment  had  taken 
what  ordinarily  would  be  matter-of-fact 
shots  of  the  docks  and  shipping  of 
Sydney  and,  by  skillful  composition,  made 
them  into  a  superlatively  beautiful — and 


interesting — production.  Truthfully  it  can 
be  said  that  without  this  excellence  in 
composition  "To  The  Ships  of  Sydney," 
good  though  it  was  in  every  department, 
would  probably  not  have  placed  so  high. 
But  with  consistently  excellent  composi- 
tion added  to  sound  photographic  and 
production  technique,  "To  the  Ships  of 
Sydney"  was  the  outstanding  film  in  the 
contest. 

An  almost  equally  outstanding  entry, 
though  in  black  and  white  rather  than 
in  color,  was  Khoji  Tsukamoto's  unusual 
film,  "Mount  Zao."  From  their  inception, 
the  American  Cinematographer's  annual 
international  amateur  movie  contests 
have  been  marked  by  the  strong  competi- 
tion offered  by  Nipponese  entries. 

"Mount  Zao,"  however,  offers  a  decided 
contrast  to  former  Japanese  films.  In- 
stead of  being  in  the  delicately  pictorial 
mood  of  Okamoto's  many  excellent  16mm. 
and  8mm.  prize  winners — that  delicately 
pictorial  blending  of  tender  sentiment 
and  medium  high  key  shots  of  cherry 
blossoms  and  rice  fields  which  many  of 
us  had  come  to  regard  as  typical  of  the 
best  Japanese  camerawork — "Mount  Zao" 
is  a  rugged  film,  accented  by  heavy  filter 
correction  and  reminiscent  of  such  prod- 
ucts of  the  great  days  of  German  movies 
as  "Pitz  Palu"  and  the  foreign-made 
portions  of  "The  Doomed  Battalion." 

Uniform  Exposures 

Its  action  is  keyed  to  the  far  higher 
tempo  of  a  thrilling  mountain  skee-run. 
Quite  apart  from  the  excellent  handling 
of  this  action  and  the  compositional  and 
filtering  technique  which  take  full  advan- 
tage of  the  weird  formations  sculptured 
by  heavy  snow  on  trees  and  rocks,  Tsuka- 
moto  is  to  be  congratulated  on  the  uni- 
formity of  his  exposures,  faced  as  he 
was  with  the  always  difficult  problem  of 
brilliantly  lit  snowfields  and  dark  clad 
people.  The  film  also  contains  touches 
of  humor  seldom  seen  in  the  work  of 
Nippon's  serious-minded  camerists. 

Charles  Carbonaro's  entry,  "Little 
Sherlock,"  excellently  illustrates  the 
problems  faced  by  the  judges,  for  it  was 
outstanding  in  no  less  than  three  cate- 
gories— as  a  scenario  film,  as  a  home 
movie,  and  in  photography — and  made 


February,  1938    •    American  Cinematographer  75 


in  addition  a  strong  fight  for  the  grand 
award. 

Photographically  speaking,  it  contained 
without  doubt  a  number  of  the  best 
interior  lighting  effects  in  the  contest, 
including  some  unusual  ones  like,  for 
instance,  one  in  which  all  the  lighting 
apparently  comes  from  a  16mm.  pro- 
jector being  used  to  run  a  roll  of  film. 
The  lighting  throughout  the  picture  is 
more  than  ordinarily  excellent,  while  the 
story  and  direction  make  it  in  every  way 
a  prize  production. 

In  this  connection,  one  of  the  honor- 
able mention  films,  William  Murphy's  "If 
Rugs  Could  Talk,"  deserves  special  men- 
tion. Consisting  of  close-ups  of  hands 
and  feet  in  a  manner  perhaps  too  remin- 
iscent of  the  still  remembered  1932  prize 
film,  "I'd  Be  Delighted,"  "If  Rugs  Could 
Talk"  was  a  technical  achievement  of  the 
first  order,  for  it  consisted  entirely  of 
interior  scenes,  made  by  artificial  light, 
and  photographed  entirely  on  positive 
film,  reversal-processed  at  home. 

Lighting  an  Achievement 

When  it  is  considered  that  the  DuPont 
positive  film  used  has,  under  artificial 
light,  a  Weston  speed  on  1/6,  the  light- 
ing achievement  can  be  appreciated. 

In  the  scenario  class,  J.  Kinney  Moore's 
"Prize  Winner"  lived  up  to  its  name.  It 
represents  a  very  marked  improvement 
over  his  last  year's  entry,  "Nite  Life." 
While  in  monochrome,  and  not  embel- 
lished with  the  remarkable  special  effects 
camerawork  of  the  previous  entry,  "Prize 
Winner"  represents  attention  to  photo- 
dramatic  details  seldom  seen  in  non-pro- 
fessional filming. 

The  compositions,  for  instance,  are 
dramatically  telling;  the  direction,  tim- 
ing and  action  could  scarcely  be  im- 
proved; they  certainly  show  very  few  of 
the  usual  amateur  shortcomings. 

Again  this  year,  T.  Lawrenson,  in  part- 
nership with  his  delightful  youngster 
Ian,  now  grown  to  an  energetic  four- 
year-old,  serves  as  the  premier  example 
of  what  can  be  done  at  home  with  a 
movie-camera.  It  is  probable  that  much 
of  the  action  of  this  tale  of  a  little  Scotch 
boy's  Christmas  was  carefully  staged, 
but  on  the  screen  it  ceitainly  does  not 
appear  so. 

"Another  Happy  Day"  has  the  spon- 
taneity which  should  characterize  the 
true  home  movie.  Little  Ian  and  his 
family  do  not  appear  to  be  "acting," 
neither  are  they  consciously  posing  for 
a  picture.  They  are  simply  and  naturally 
enjoying  themselves,  quite  as  though  no 
camera  was  about. 

Makes  Most  of  Equipment 

Yet  Lawrenson's  technicalities  are  very 
well  thought  out.  His  camera  angles, 
especially  in  the  sequence  where  Ian  en- 
joys his  toy  train,  are  graphic.  As  usual, 
his  transitions  are  smooth.  Among  them 
may  be  mentioned  one  from  a  pictured 
Christmas  pudding  on  a  Christmas  card 
dissolving  to  a  close-up  of  the  real 
pudding. 

Again  there  is  a  similar  transition 
from  the  top-hatted  snowman  Ian  and 
his  daddy  make  on  the  lawn  to  a  similar 
"snow"  figure  on  a  great  frosted  cake. 


Yet  another  point  in  Lawrenson's  favor 
is  the  fact  that  whila  the  film,  to  expert 
eyes,  appears  to  have  been  made  with  a 
minimum  of  technical  resources,  the  re- 
sult on  the  screen  conceals  this  most 
capably. 

Another  outstanding  job  was  that 
jointly  entered  by  Mel  Weslander  and 
Harry  French,  "Solar  Pelexus."  This 
highly  imaginative  story  of  a  rocket 
voyage  to  a  mythical  planet  was  fea- 
tured by  a  display  of  miniature  work 
more  than  a  little  reminiscent  of  "The 
Lost  World." 

Perhaps  a  Walt  Disney  might  point 
out  that  the  animation  of  the  miniature 
people  and  monsters  in  this  film  fell 
short  of  the  ultimate  in  smoothness,  but 
on  the  opposite  side  of  the  ledger  even 
a  Disney  must  place  a  high  mark  for 
imaginative  conception. 

It  is  incredible  what  a  monstrous  beast 
can  be  created  from  a  peanut  and  a 
couple  of  feathers — if  one  has  imagina- 
tion! The  manner  in  which  full  scale 
action  was  filmed  and  intercut  with  the 
miniatures  is  most  praiseworthy,  and  an 
especial  bow  must  be  given  the  way  the 
"black  lightning"  was  created  in  the  full- 
scale  exterior  scenes  by  dextrous  manipu- 
lation of  a  graduated  filter. 

Four-Way  Contest 

Dr.  R.  E.  Gerstenkorn's  educational 
film,  "Japan  and  its  People,"  offers  an 
unusual  candid-camera  study  of  these 
folks  at  work  in  city  and  country,  and 
even  worshiping  in  their  temples.  The 
photography  is  excellent  throughout,  and 
the  film's  only  flaw  is  perhaps  an  over 
restraint  in  the  use  of  titles. 

Competition  in  the  twin  categories  of 
scenic  and  color  films  proved  especially 


close.  Demonstrative  of  the  universal  ac- 
ceptance of  kodachrome  is  the  fact  that 
not  one  scenic  picture  in  monochrome 
was  entered. 

Entering  the  home  stietch,  it  became 
a  four-way  contest  between  Scott  Moor- 
house's  "This  Side  of  Paradise";  the 
Yarnell-Kimball  entry,  "Europa  Tour- 
ing"; R.  C.  Denny's  "Scenic  Wonders  of 
the  Southwest"  and  Sherlock's  entry. 

Picking  the  two  winners  from  these 
was  one  of  the  most  difficult  tasks  faced 
by  the  judges.  In  the  color  category, 
Moorhouse's  film — a  truly  beautiful  im- 
pression of  the  region  around  Lake 
Lugano,  in  Switzerland,  finally  won  out. 

For  the  technical  excellence  of  its  color 
this  film  could  scarcely  be  improved  upon, 
though  its  compositions  often  suffered 
from  a  consistent  weakness  for  allowing 
too  much  headroom,  and  consequently 
cutting  things  off  too  sharply  at  the 
bottom  of  the  frame. 

The  color  renderings,  though,  were 
superlative,  and  a  number  of  scenes  were 
made  in  what  weie  obviously  very  diffi- 
cult set-ups,  such  as  those  presented  in 
a  sequence  in  a  veranda  cafe  under  a 
canopy  of  leafy  vines.  This  film  also  had 
the  best  color  titles  in  the  contest. 

In  the  scenic  class,  Ellis  Yarnell  and 
C.  Y.  Kimball's  "Europa  Touring" — an 
800-foot  subject  in  kodachrome,  detailing 
a  tour  of  Denmark,  Sweden  and  Norway 
— added  to  consistently  excellent  color- 
photography  a  treatment  which  showed 
not  only  what  the  tourists  saw  but  the 
people  they  saw  as  well. 

Near  Perfect  Score 

As  neaily  as  the  writer  can  recall  his 
own  scoring  of  the  film,  the  production 
missed  a  perfect  rating  for  camera  tech- 


Here  is  a  close-up  of  John  Howard  (seated)  and  Walter  Connolly  in  Columbia's 
"Penitentiary."  At  the  extreme  left  is  Liicien  Ballard,  A.S.C.  Next  to  him  is  Ells- 
worth Vines,  professional  teyinis  champion,  and  Donald  Budge,  amateur  title  holder. 
The  man  on  the  floor  shoiving  more  concern  over  his  work  than  mere  sartorial 
excrescences  is  Director  John  Brahm.    Irving  Lippman  photographed  the  still. 


76       American  Cinkmatooraphkr    •    February,  1938 


nique  by  the  narrow  margin  of  three 
scenes  made  in  a  Norwegian  shipyard 
on  a  rainy  day!  To  offset  these  were  in- 
numerable others  of  remarkable  excel- 
lence, including  one  gemlike  sequence  of 
the  nighttime  illumination  of  a  gieat 
amusement  park  in  Copenhagen. 

Denny's  film,  which  received  the 
Weston  Instrument  Company's  special 
award,  was  an  equally  remarkable  pres- 
entation of  the  wonders  of  our  own 
country.  This  film  was  made  on  an  ex- 
tensive vacation  tour  of  all  our  south- 
western national  parks  and  monuments. 

As  such,  it  was  necessarily  filmed 
under  a  wide  variety  of  weather  and 
lighting  conditions,  and  filmed,  in  the 
main,  most  capably.  A  two-reel  film, 
"Scenic  Wonders  of  the  Southwest," 
suffered  somewhat  from  repetition  of 
similar  material  and  would,  in  the  opinion 
of  most  of  the  judges,  have  benefited 
by  much  sharper  cutting. 


On  the  other  hand,  Cinematographor 
Denny  drew  the  unanimous  praise  of  the 
judges  for  the  manner  in  which  he 
visited  many  regions  which  have  been 
pictured  to  death,  yet  managed  to  avoid 
the  beaten  path. 

No  mention  of  the  color  entries  in  this 
contest  would  be  complete  without  men- 
tion of  Eugene  Ritzmann's  unique  entry, 
"Garden  Life,"  which  deservedly  won  the 
Harrison  and  Harrison  award.  This  was 
filmed  almost  entirely  in  stop  motion  and 
showed  the  growth  of  a  variety  of  dif- 
ferent flowers  and  plants. 

Walter  Wins  on  8 mm. 

As  several  of  the  final  judging  com- 
mittee remarked,  few  if  any  professional 
films  of  the  same  type  have  timed  their 
successive  single  frame  exposures  so  ac- 
curately and  shown  the  actual  growth  of 
the  plants  so  smoothly.  In  addition,  the 
composition  in  several  of  these  shots 
was  remarkably  effective. 


The  sole  8mm.  entry  to  gamer  a  major 
award  was  John  E.  Walter's  "El  Camino 
Real,"  a  two-reel  8mm.  kodachrome  docu- 
ment chronicling  the  California  missions. 
Far  more  than  showing  these  historic 
buildings  excellently,  the  film  evidenced 
a  remarkable  grasp  of  fine  photographic 
composition.  There  were  very  few  scenes 
indeed  in  the  two  reels  of  this  film  which 
did  not  evidence  the  highest  order  in  its 
making. 

"Engineer's  Daughter"  Good 

Four  8mm.  films,  however,  found 
places  among  the  honorable  mentions. 
Included  among  these  may  be  mentioned 
Earl  Cochran's  "gay  90's"  melodrama, 
"The  Engineer's  Daughter,"  which,  in 
addition  to  being  most  amusing,  was  well 
photographed,  excellently  acted  and  cos- 
tumed, and  a  more  than  ordinarily  credit- 
able job  of  production. 

It  suffered,  however,  from  a  few 
strictly  technical  shortcomings — mostly 
in  directing. 

Foremost  among  these  was  the  fact 
that  direction  of  movement  in  intercut 
scenes  was  frequently  confused. 

Another  notable  8mm.  entry  was  Wil- 
liam Poulson's  "Discovery."  This  film 
had  a  strikingly  unusual  theme  and  one 
which  was  slow  to  grow  upon  the  spec- 
tators. But  grow  it  did,  and  had  the 
cinematographer-director  been  able  to 
lavish  a  bit  more  attention  on  the  pic- 
torial attractiveness  of  some  of  his  shots, 
and  had  he,  as  producer,  clarified  his  plot 
with  a  few  more  titles,  the  film  might 
well  have  been  a  winner. 

It  is,  however,  a  notable  production, 
for  seldom  if  ever  before  has  an  amateur 
filmer  attempted  to  put  on  the  screen  so 
unusual  a  story. 

Bridge  Picture  Group 

Ranking  high  in  both  the  categories 
of  educational  films  and  color,  Raymond 
O'Connell's  film  of  the  "San  Francisco- 
Oakland  Bay  Bridge"  is  also  outstanding. 
He  tells  the  tale  of  this  great  work  of 
engineering  very  effectively,  using  fre- 
quent cuts  to  close  shots  of  a  miniature 
of  the  bridge  to  clarify  his  long  shots  of 
the  real  bridge  itself. 

This  entry  was  also  in  many  ways  the 
outstanding  example  of  8mm.  color 
shown. 

"Kleptomania,"  the  entry  of  Bion  Vogel 
of  the  Los  Angeles  8mm.  Club,  was  an 
excellent  black  and  white  scenario  film. 
Its  main  weakness  lay  in  uneven  light- 
ing and  composition. 

In  the  educational  class,  E.  X.  Harri- 
son's two  reel  subject,  "The  Least  Tern," 
was  excellent.  For  general  showing  the 
film  unquestionably  did  have  too  much 
repetition,  but  for  strictly  educational 
use  this  would  be  an  asset. 

More  serious  was  the  lack  of  necessary 
explanatory  titles.  The  photographic 
technique  was  truly  excellent,  for 
virtually  the  entire  film  must  obviously 
have  been  made  with  extremely  long 
focus  lenses,  shooting  from  a  blind,  and 
the  results  on  the  screen  were  practically 
perfect. 

Yet  another  highly  meritorious  16mm. 
film,  this  time  one  in  kodachrome,  was 


Scene  iv  T  hi  hI  i<  ili  -l<"<i.r\  "7'hc  Baronei^s  (ind  tJic  Butler"  with  Aniiabella,  (/olden 
haired  newcomer  to  the  American  screen,  and  William,  Powell,  still  the  sophisticate, 
(jettinf)  better  acquainted  as  the  story  proceeds.  Facinq  them  are,  left  to  right, 
Walter  Lany,  director;  Paul  Lockwood.  assistant  cameraman;  Gene  Bryant,  assistant 
director;  Joseph  LaShelle,  operative  cameraman;  above  him,  L.  Broken,  gaffer; 
Arthur  Miller,  director  of  photography. 


February,  1938    •    American  Cinematographer  77 


THE  MAGAZINE  CINE-KODAK 

FOR  MOVIES  YOU'LL  BE  PROUD  TO  SHOW 


As  both  director  and  cameraman  of  your 
movies,  you  need  a  camera  that  will  let  you 
concentrate  your  attention  on  the  action 
you're  filming.  The  remarkably  easy-to-use 
16  mm.  [Magazine  Cine-Kodak  is  the  answer. 

It  loads  in  three  second.s — with  film  that 
comes  in  metal  magazines  which  you  just  slip 
into  the  camera.  Threading  is  eliminated. 

It's  easy  to  switch  film.  Simply  take  out  one 
magazine  and  put  in  another.  The  magazine 
protects  the  him,  and  a  footage  meter  on  each 
magazine  shows  how  much  him  you  ha\-e  used. 

Seven  Accessory  Lenses 

Six  telephotos  and  one  wide-angle  lens  are 
interchangeable  with  its  standard  1-inch  lens 
by  the  simplest  method  ever  devised.  Direct 


eye-level  hnder  system  serves  all  eight  lenses. 

Pulsing  button  under  your  hnger  kee|)s  you 
posted  on  scene  length.  Three  speeds — Normal, 
Intermediate,  and  Slow  Motion.  An  auto- 
matic shut-off  stops  motor  when  rewinding 
is  necessary.   

With  fast  Kodak 
Anastigmat  /.I.!) 
lens,  the  Maga- 
zine Cine-Kodak 
is  $h25.  See  it  at 
your  dealer's. 


De  luxe  sole  lea  1  Uvr 
carrying  case  for  Mjik- 
azine  Cine-KiMlak,  six 
extra  lenses. extra  nia;;- 
azines  and  filters,  $27.50 


EASTMAN  KODAK  COMPANY,  ROCHESTER,  N.  Y. 


78       Amekican  Cinematographeh    •    February,  1938 


Sidney  Moiitz'  "Under  Your  Own 
Power,"  a  film  document  of  a  bicyclists' 
excursion,  highlighted  by  excellent  color 
photography  and  often  by  fine  composi- 
tion as  well. 

Good  Documentary 

Like  many  of  the  others,  however,  Mr. 
Moritz  should  pay  more  attention  to  the 
always  important  matter  of  keeping  di- 
rections of  movement  consistent  from 
scene  to  scene. 

W.  N.  Rocker  deserves  attention  for 
the  entry  of  five  separate  films,  each 
devoted  to  the  service  given  by  some 
municipal  agency  of  his  home  city  of 
Cleveland.  For  a  straightforward,  factual 
presentation  of  his  material.  Rocker's 
films  could  scarcely  be  improved;  but  if. 


FROM  the  press  of  D.  Appleton- 
Century  Company,  35  West  Thirty- 
second  street,  New  York,  has  come 
"Film  and  School,"  a  handbook  in  mov- 
ing picture  evaluation.  It  is  a  publica- 
tion of  the  National  Council  of  Teachers 
of  English  and  was  written  by  Helen 
Rand  and  Richard  Lewis,  with  the  ad- 
vice and  counsel  of  Edgar  Dale  and  the 
late  Sarah  McLean  Mullen. 

The  first  of  the  four  named  is  chair- 
man of  the  committee  on  standards  for 
motion  pictures  and  newspapers.  Lewis 
is  credited  to  the  Glendale  (Cal.)  Junior 
College,  Dale  to  the  Bureau  of  Educa- 
tional Research,  Ohio  State  University, 
and  the  last  named  to  the  Abraham 
Lincoln  High  School  of  Los  Angeles. 

The  book  has  182  pages,  plus  40 
pages  carrying  57  illustrations  of  vari- 
ous phases  of  photoplay  production  dis- 
cussed in  the  text.  The  contents  carry 
a  half  dozen  major  departments,  in  or- 
der being  Moving  Pictures,  a  Social  and 
Educational  Force;  How  Moving  Pic- 
tures Interpret  Life,  The  People  Who 
Make  Moving  Pictures,  Rating  Scales, 
Reviews  and  Criticisms;  Moving  Pic- 
ture Clubs,  More  to  be  Done,  etc. 

In  the  first  section,  for  example,  the 
subheads  give  an  insight  into  the  range 
of  subjects  discussed.  These  are  The 
Rich  Man,  Poor  Man  Pattern;  Who  Is 
Funny?  What  Is  Funny?  Are  Young 
People  Taken  Seriously?  Friendship  and 
Love,  What  Makes  Criminals?  Our  Atti- 
tude Toward  Other  Peoples;  Who  Makes 
War? 

The  two  initial  paragraphs  of  the  in- 
troduction give  an  insight  into  the  gen- 
eral objective  of  the  authors.  These 
follow: 

"When  we  consider  how  much  time 
young  people,  and  adults  too,  spend  in 
moving  picture  theatres,  we  know  that 
education  is  not  confined  to  schoolrooms 
and  does  not  all  come  out  of  textbooks. 
We  have  'movie  made  children';  we  are 
movie  made  people;  and  the  movies  are 
already  a  part  of  our  education.  Our 


as  is  probable,  he  made  these  films  to 
acquaint  his  fellow-citizens  with  their 
city  government,  it  is  to  be  regretted 
that  he  did  not  essay  a  more  imaginative 
treatment. 

In  all  of  these  productions  the  personal 
element  could  easily  have  been  stressed 
more,  turning  the  films  into  entertain- 
ment as  well  as  instruction. 

Last,  but  by  no  means  least  on  the  list 
of  honorable  mentions,  is  Duncan  MacD. 
Little's  "Voyageur's  Trail,"  a  news  film 
of  a  four-day  canoe  race  in  Canada.  This 
film,  photographed  perforce  under  what- 
ever conditions  happened  to  obtain  at  the 
moment  the  action  occurred,  represents 
a  remarkable  achievement  in  amateur 
news  filming,  for  which  Little  is  to  be 
commended  in  the  highest  terms. 


task  now  is  to  correlate  them  with  other 
activities  offered  in  the  school  program. 

"We  neither  condemn  moving  pictures 
wholesale  nor  advertise  them.  We  try 
to  evaluate  them.  We  are  engaged  in 
setting  up  standards  for  judging  them. 
That  is  why  we  usually  say  'evaluating 
moving  pictures'  rather  than  'moving 
picture  appreciation'." 

Ten  pages  are  devoted  to  "Moving 
Picture  Clubs,"  meaning  school  clubs. 
Suggestions  are  given  for  organizing  and 
conducting  such  a  body. 

That  a  book  published  at  the  end 
of  1937  designed  to  aid  in  the  evalua- 
tion of  screen  products  freely  employs 
such  expressions  as  "moving  pic- 
tures" and  "movies"  will  interest  those 
who  may  remember  the  controversy  that 
raged  a  quarter  century  earlier  over 
those  same  terms. 

Moving  pictures  was  the  term  em- 
ployed in  the  beginning.  It  was  used 
without  question  until  there  arose  dis- 
ciples of  a  school  which  insisted  pic- 
tures did  not  move — they  must  be  de- 
scribed as  motion  pictures.  And  grad- 
ually by  common  consent  motion  pic- 
tures prevailed. 

The  Moving  Picture  World,  a  trade 
publication,  was  founded  in  1907.  Dur- 
ing the  approximate  twenty  years  of  its 
life  the  title  was  not  changed,  although 
in  the  later  years  of  its  existence  the 
term  "moving"  picture  seldom  appeared 
in  its  columns. 

One  of  the  minor  features  of  this 
trade  paper  for  exhibitors  was  an  edu- 
cational department  conducted  by  a  par- 
son who  each  month  "shed  barrels  and 
barrels  of  tears"  over  the  growing  use 
by  children  and  "thoughtless  adults"  of 
what  he  termed  the  abomination  of 
"movies." 

The  children  win,  as  they  were  bound 
to  do.  And  adults  have  helped  them 
out.  But  so  thoroughly  was  that  in- 
hibition on  "movies"  hammered  into  the 
consciousness  of  this  writer,  while  al- 
ways conceding  its  unimpeded  use  by 


children,  that  even  today  when  compelled 
to  refer  to  "home  movies"  or  maybe 
"Amateur  Movies" — you  understand — 
he  experiences  a  twinge  of  what  takes 
the  place  of  conscience  such  as  may 
follow  upon  the  use  of  profanity  that 
sinks  a  little  lower  than  his  accus- 
tomed depth. 

But  "Film  and  School"  is  an  interest- 
ing book — interesting  not  alone  to  those 
whose  duty  it  is  to  teach  the  young  and 
near  young  but  also  to  men  and  women 
who  in  years  recent  and  remote  have 
been  within  and  on  the  fringe  of  the 
amusement  world. 


Duncan  Little  Broadcasts 
'Film  Planning'  Over  WNYC 

On  Wednesday,  January  19,  WNYC- 
Municipal  Broadcasting  System,  under 
the  personal  supervision  of  Mayor  F.  H. 
LaGuardia,  offered  the  third  in  the  series 
of  programs  devoted  to  amateur  movies. 
The  guest  speaker  for  the  broadcast  was 
Duncan  MacD.  Little,  charter  member 
of  the  Society  of  Amateur  Cinematog- 
raphers  of  Hollywood  and  liaison  officer 
for  the  United  States  of  the  Institute 
of  Amateur  Cinematographers  of  Lon- 
don, England. 

Mr.  Little  has  for  years  been  collabo- 
rator with  the  Hon.  Arthur  Bergeron  of 
Quebec  regarding  cinematics  in  the  St. 
Maurice  River  region  of  Quebec  Prov- 
ince. Strictly  an  amateur,  Mr.  Little  has 
exhibited  films  extensively  throughout 
the  United  States,  England  and  Canada, 
and  often  under  governmental  auspices. 

The  topic  for  the  session  was  "Plan- 
ning a  Film,"  and  Mr.  Little  with  a 
wealth  of  experience  and  sharp  new 
ideas  brought  a  freshness  of  viewpoint 
that  often  is  lacking  in  a  maker  of  ama- 
teur movies  who  has  been  a  veteran  of 
fewer  years. 

T 

Cinematographers  to  Make 
Their  Own  Annual  Award 

Special  rules  to  govern  the  camera 
awards  as  worked  out  by  the  rules  com- 
mittee representing  the  photographic 
section  of  the  Technicians  Branch  of  the 
Academy  have  been  approved  for  use 
during  this  year's  awards  program  by 
the  Academy  Awards  Committee. 

Nomination  procedure  this  year  will 
follow  that  of  last  year.  Each  Director 
of  Photography  in  the  industry  will  be 
asked  to  name  the  two  productions  which 
he  considers  to  represent  the  best  cine- 
matography of  the  year,  either  naming 
productions  photographed  by  himself  or 
by  another  director  of  photography. 

From  the  list  of  productions  sug- 
gested by  the  cameramen  themselves  a 
committee  of  representative  cameramen 
and  photographic  experts  will  select  the 
three  productions  to  be  nominated  for 
the  Award. 

Rather  than  having  the  nominated 
productions  voted  upon  by  the  entire 
Academy  membership,  this  year's  selec- 
tion of  the  one  production  to  receive  the 
Award  for  Achievement  in  Cinematog- 
raphy will  be  made  by  a  vote  of  all  di- 
rectors of  photography  in  the  industry. 


'Film  and  SchooV  Textbook 
Teaches  Screen  Evaluation 


February,  1938    •    American  Cinematographer  79 


Here's  Complete  Musical  Scores 
for  International  Prize  IVinners 


THE  prize-winning  films  of  the 
American  Cinematographer's  1937 
international  amateur  movie  con- 
test covered  an  unusually  wide  range, 
both  geographically  and  dramatically. 
Accordingly,  the  musical  scores  arranged 
to  accompany  them  at  their  showings 
before  the  Los  Angeles  cine  groups  also 
covered  a  broad  range,  not  only  in  the 
varied  types  of  music  necessary  but  in 
the  complexity  of  the  scoring. 

Perhaps  the  simplest  of  the  scores 
was  that  used  for  C.  J.  Carbonaro's 
winner  of  the  Victor  Animatograph 
award,  "Little  Sherlock."  This  film  is 
very  positively  divided  into  four  dra- 
matic elements,  or  more  correctly,  into 
sequences  dominated  by  one  of  four  defi- 
nite dramatic  themes.  It  was  therefore 
possible  to  work  out  a  flexible,  thematic 
score  for  the  film  using  but  four  records. 

The  introductory  theme  centers 
around  little  Alice,  and  here  and  wher- 
ever Alice  dominates  the  action  we  used 
an  organ  recording  of  "Moonbeams 
Dance,"  by  Gibbons,  played  by  Terance 
Casey  on  (British)  Columbia  Record 
DB260. 

Alice's  father's  moviemaking  is  the 
second  dramatic  element,  so  we  have  our 
second  theme,  which  we  accompany  with 
"The  Match  Parade,"  by  Wehle,  an- 
other organ  recording,  played  by  Sydney 
Gustard  on  H.M.V.  (British  Victor") 
Record  B3887. 

The  third  dramatic  theme  is  the 
Thug,  for  whose  musical  theme  we  found 
Gounod's  "Funeral  March  of  a  Marion- 
ette," as  played  on  the  organ  by  Quentin 
M.  MacLean  either  on  Columbia  Record 
2251-D  or  British  Columbia  5121.  The 
fourth  theme  begins  with  Mother's  re- 
turn home  to  find  the  apartment  robbed 
and  her  husband  blackjacked. 

It  continues  through  Father's  account 
of  the  aff"air  to  the  police,  and  may  even 
continue  farther  if  you  wish.  For  this 
theme  we  chose  Leslie  Stuart's  "Lily 
of  Laguna,"  as  played — again  on  the 
organ — by  Leslie  James  on  H.M.V.  Rec- 
ord B2902. 

These  four  records  can  be  alternated 
ad  lib  as  the  action  indicates,  and  as 
all  of  them  are  played  on  either  Wur- 
litzer  or  Compton  organs  they  furnish 
an  excellent  "movie-organ"  accompani- 
ment. 

*       *  * 

For  J.  Kinney  Moore's  appropriately 
named  "Prize  Winner,"  which  took  the 
honors  in  the  scenario  class,  we  again 
resorted  to  "movie-organ"  accompani- 
ment. And  in  this  case  accompaniment 
is  the  correct  word,  for  this  film  re- 
quired a  score  which  would  be  more 
or  less  a  passive  accompaniment  rather 
than  a  sharply  defined  thematic  score. 


By  WILLIAM  STULL,  A.S.C. 

For  the  greater  part  of  the  picture 
we  need  slow,  simple  music,  so  we  chose 
several  selections  from  Rosse's  "Mer- 
chant of  Venice,"  incidental  music  suite 
as  played  by  Quentin  M.  MacLean.  We 
begin  with  "Prelude  No.  1,"  on  British 
Columbia  Record  9585.  When  this  is 
played  through,  we  change  to  "Prelude 
No.  2,"  on  British  Columbia  Record 
9586.  Then  we  turn  over  the  first  rec- 
ord and,  when  the  second  is  completed, 
play  the  "Portia  Intermezzo"  (Brit- 
ish Columbia  9585). 

The  final  part  of  the  picture,  begin- 
ning from  the  time  the  old  farmer  helps 
the  stranded  woman  motorist  and  has 
thrust  upon  him  enough  money  where- 
with to  reclaim  his  goat,  a  rather  light- 
er and  more  cheerful  music  is  indicated. 
For  this  we  use  "Monte  Christo,"  by 
Kotlar,  played  by  Paul  Mania  on  H.M.V. 
Record  EG2285.  " 

Another  simple  score  is  the  one  used 
for  that  unique  film,  Eu^ijene  Ritzmann's 
"Garden  Life."  For  this  strikinpc  depic- 
tion   of    flowers    actually    growing  we 


need  light,  graceful  music.  So  we  begin 
with  Delibes'  "Naila"  waltz,  as  played 
by  the  Royal  Opera  Orchestra,  Covent 
Garden,  under  the  direction  of  Lawrence 
Collingwood,  on  H.M.V.  C1969. 

When  this  is  completed  we  change  to 
Tschaikowsky's  "Valse  Serenade,"  as 
played  by  Ossip  Gabrilowitsch  and  the 
Detroit  Symphony  Orchestra  on  Victor 
6835.  As  the  sequence  of  shots  of  lilies 
begins  we  have  on  the  screen  a  series 
of  increasingly  unusual  blooms,  so  we 
turn  to  music  that  is  also  somewhat  out 
of  the  ordinary,  accompanying  this  part 
of  the  picture  with  Josef  Strauss'  "Deli- 
rien  Waltz,"  played  by  the  Berlin  State 
Opera  Orchestra  conducted  by  Alois 
Melichar  on  Brunswick  90215. 

To  avoid  an  undesired  introduction, 
start  about  1%  inches  in  from  the  edge 
of  the  disk.  For  the  finale,  as  the  pic- 
ture returns  to  the  more  familiar  pop- 
pies and  closes  with  the  pansies  which 
began  the  film,  we  return  to  the  first 
record,  "Naila." 

"Another  Happy  Day,"  T.  Lawren- 
son's  winner  in  the  home  movie  cate- 
gory, requires  a  more  sharply  defined 
score  and,  with  one  exception,  bright, 


On  a  crane  far  above  the  floor  on  wJiich  RKO  Radio's  "Bringing  Up  Baby"  troupe 
is  working,  Operative  Can>,e7-aman  Charles  Burke  photographs  Carey  Grant,  osten- 
sibly a  scientist  assembling  a  giant  dinosaur.   Russell  Metty  directs  photography 
on  the  subject.  Alex  Kahle  shot  the  still. 


80       American  CiNEMAT()(:KAi>Hf;R    •    February,  1938 


gay  music  to  match  the  happy  mood  of 
that  delightful  child,  Ian. 

Incidentally,  those  readers  who  re- 
member the  score  used  for  Lawrenson's 
winner  of  two  years  ago,  "Happy  Day," 
may  notice  the  reappearance  of  two 
records  from  the  previous  score.  But 
since  Ian  is  featured  in  both  films,  and 
these  two  pieces  seem  particularly  ex- 
pressive of  his  character,  the  repetition 
is  inevitable. 

Once  again  the  opening  selection  is 
Ketelbey's  "Wed^vewood  Blue  "  as  played 
by  Albert  W.  Ketelbey  and  his  Light 
Concert  Orchestra  on  Columbia  50334-D. 
After  the  family  has  rone  to  bed  the 
appearance  of  Santa  Glaus  is  the  cue 
for  a  change  of  mm'c,  to  "Colonial 
Song"  (Grainger-Schmid).  played  by  the 
Victor  Symphony  Orchestra  under  Ro- 
sario  Bourdon  on  Victor  300:5.5. 

As  Ian  enters  Christmas  morning  to 
see  his  presents  we  change  to  the  other 
side  of  the  first  record,  Ketelbey's  "The 
Clock  and  the  Dresden  P'igures." 

When  Ian  and  his  father  start  to  run 
the  new  toy  train  I  yielded  to  tempta- 
tion and  used  a  thoroughly  unnecessary 
record,  but  one  beginning  with  a  theme 
which  cinemagoers  have  associated  with 
trains  ever  since  its  introduction  in  Lu- 
bitsch's  "Monte  Carlo" — "Beyond  the 
Blue  Horizon." 

This  is  the  first  theme  beginning 
H.M.V.  Record  C2084,  "Monte  Carlo  Se- 
lections," played  by  the  New  Mayfair 
Orchestra.  This  record  easily  can  be 
dispensed  with,  if  it  is  not  available,  for 
the  particular  theme  used  does  not  con- 
tinue through  the  record.  If  it  is  avail- 
able, however,  its  closing  theme  might 
be  useful  to  accompany  a  later  sequence 
in  which  Ian  enjoys  the  traditional  Eng- 
lish Christmas  fireworks. 

However,  the  next  record  after  the 
"Beyond  the  Blue  Horizon"  theme  is  a 
return  to  "The  Clock  and  the  Dresden 
Figures."  To  close  the  film  we  use 
Johan  Strauss'  "Thousand  and  One 
Nights,"  as  played  by  Hans  Schmalstich 
and  a  Salon  Orchestra  on  Victor  V5002.5. 

Alan  Scott  Moorhouse,  when  he  sent 
his  film,  "This  Side  of  Paradise,"  which 
triumphed  in  the  color  section,  thought- 
fully sent  in  a  list  of  the  records  he 
used  as  a  score  for  his  film. 

Unfortunately,  the  scores  we  use  have 
always  been  chosen  from  my  private 
record  collection,  and  although  that  col- 
lection is  rather  extensive  I  blush  to 
admit  I  did  not  have  even  one  of  the 
records  Mr.  Moorehouse  indicated, 
though  I  had  nearly  all  of  the  pieces. 

But  my  records  were  all  vocal  ar- 
rangements, and  except  in  rare  instances 
(such  as  demanded  by  one  sequence  of 
this  film)  it  is  axio.matic  that  vocal 
records — or  even  instrumental  rcords 
with  vocal  choruses — should  jiever  be 
used  in  film  scoring. 

However,  here  are  both  of  the  scores 
for  this  film;  if  the  proper  records  arc 
available  I  am  inclined  to  feel  that  Mr. 
Moorehouse's  original  score  would  prob- 
ably be  preferable.  Certainly,  his  choice 
of  a  theme  tune  is  the  better;  had  I 
had    this   selection    in   an  instrumental 


recording  I  would  have  used  it  in  pref- 
erence to  my  own  choice. 

Mr.  Moorehouse's  score:  Theme  tune, 
"Vienna,  City  of  My  Dreams,"  Columbia 
FB136G;  2,  "Voices  of  Spring,"  H.M.V. 
B-4257;  .3,  Morcote  sequence,  "At  Dawn- 
ing," H.M.V.  B-2f)29;  4,  Gandria  se- 
quence, "Warblings  at  Eve,"  Victor 
19849;  5,  girls  dancing,  "Wine,  Women 
and  Song,"  H.M.V.  B-4257;  6,  girls  sing- 
ing, "Ciribiribin,"  Rex  887I-B;  7,  Como 
sequence,  "Santa  Lucia,"  Decca  P-05022; 
8,  St.  Moritz  sequence,  "Angels'  Ser- 
enade," Columbia  9110;  9,  closing  se- 
quence, "Vienna,  City  of  My  Dreams," 
Columbia  FB-l.SflO. 

My  own  substitute  score  began  by 
using  Strauss'  "Tales  from  the  Vienna 
Woods"  for  the  theme  tune,  played  in 
this  case  by  Leopold  Stokowski  and  the 
Philadelphia  Symphony  Orchestra  on 
Victor  0584.  I  combined  the  themes  for 
the  Morcote  and  Gandria  sequences  into 
one,  using  Strauss'  "Swallows  of  Aus- 
tria" as  played  by  Dajos  Bela  and  his 
Orchestra   on   Odeon  3222. 

For  the  "girls  dancing"  sequence  I 
used  Gung'l's  "Bubbling  Springs  Waltz," 
played  by  Marek  Weber  and  his  or- 
chestra on  Victor  V-50023.  Where  the 
close-ups  of  the  girl  singing  are  seen 
I  for  once  break  the  established  rule 
against  using  vocal  records,  and  use 
Pestalozza's  "Ciribiribin"  as  sung  by 
Lucrezia  Bori  on  Victor  1202. 

By  good  luck,  in  the  Los  Angeles 
showings  this  synchronized  perfectly. 
For  the  Como  sequence  I  used  a  med- 
ley, "Dreams  of  Italy,"  Columbia 
.59015-F. 

For  the  St.  Moritz  sequence  I  used 
Widor's  "Serenade,"  by  the  Cherniavsky 
Trio  on  Columbia  138-M.  And  for  the 
close,  following  Mr.  Moorehouse's  goad 
example,  my  score  returns  to  the  theme 
tune,  in  this  case,  "Tales  From  the 
Vienna  Woods." 

Yarnell  and  Kimball's  winner  in  the 
scenic  class,  "Europa  Touring,"  is  ar- 
ranged to  give  the  ideal  in  scoring,  for 
the  music  changes  can  in  almost  every 
case  come  where  they  will  be  least  dis- 
turbing— during  titles. 

The  titles,  too,  furnish  helpful  music 
change  cues.  For  the  opening  of  this 
film.  Part  1,  or  Gershwin's  "An  Ameri- 
can in  Paris,"  as  played  by  the  com- 
poser and  the  Victor  Symphony  Or- 
chestra on  Victor  35963,  synchronizes 
very  admirably  with  the  shots  of  Co- 
penhagen's bicycle  traffic. 

The  first  cue  is  a  title  indicating 
"The  Royal  Palace,"  at  which  the  music 
changes  to  the  first  record  of  Elgar's 
"Wand  of  Youth"  suite,  including  the 
movements  known  as  Overture,  Allegro 
Molto,  Serenade,  and  Andantino,  and 
played  by  Sir  Edward  Elgar  and  the 
London  Symphony  Orchestra  on  Vic- 
tor 9470. 

As  a  close-up  of  the  Swedish  flag 
serves  as  a  background  for  the  title 
"Sweden"  we  change  to  "0  Vermeland 
Thou  Lovely  ("Ack  Warmeland  Du 
Skona")  played  by  Josef  Pasternack  and 
the  Victor  String  Ensemble,  on  Victor 
19923. 


At  the  title  "Boating  is  a  popular 
sport,"  we  change  to  the  second  part 
of  "The  Wand  of  Youth,"  on  the  op- 
posite side  of  the  second  disk  used  in 
this  score,  and  including  Minuet,  An- 
dante, Sun  Dance  and  Presto. 

At  the  title  indicating  ".  .  .  across  the 
Norwegian  mountains"  we  change  to 
Sibelius'  "Swan  of  Tuonela,"  played  by 
Leopold  Stokowski  and  the  Philadelphia 
Orchestra,  on  Victor  7380.  We  play  both 
sides  of  this  record.  By  the  time  this 
disk  is  finished,  the  party  has  reached 
Bergen,  and  we  change  to  Lalo's  "Rap- 
sodie  Norvegienne,"  played  by  Gabriel 
Pierne  and  L'As.sociation  Artistique  des 
Concerts    Colonne    on    Odeon  Record 

123628.  This  completes  the  score. 

*       *  * 

Khoji  Tsukamoto's  "Mount  Zao,"  win- 
ning the  photography  award,  .stresses 
two  elements:  the  bizarre  and  tempo. 
These,  too,  govern  our  score,  albeit  they 
involve  some  most  unusual — and  highly 
un-Japanese  music,  including  even  Rou- 
manian and  Turkish  music! 

For  the  beginning  we  play  "Fantasy 
Rumanesco"  (Stefanesco),  played  by 
Alfred  Rode  and  His  Tzigane  Orches- 
tra on  H.M.V.  B3902.  When  this  is  fin- 
ished we  change  to  "Gypsy  Oriental 
Dance,"  an  old  Turkish  folk  song,  played 
by  the  Gypsy  Wanderers  on  Victor  V23. 

As  the  climbers  start  up  the  moun- 
tain, through  the  weird  scenery,  we 
change  to  "In  the  Mountain  Pass,"  from 
Ippolitow-Ivanow's  "Caucasian  Sketches," 
played  by  Rosario  Bourdon  and  the  Vic- 
tor Symphony  Orchestra  on  Victor  36017. 

Then,  changing  after  the  second  or 
third  shot  after  the  party  leaves  the 
mountain  cabin,  we  change  to  "The 
March  to  the  Scaffold."  from  Berlioz' 
"Fantastic  Symphony,"  played  by  Eu- 
gene Gossens  and  the  Hollywood  Bowl 
Orchestra  on  Victor  6869. 

And  as  the  skiers  get  well  started 
on  their  thrilling  run  down  the  hill 
we  change  to  the  faster  tempo  of 
Strauss'  "Voices  of  Spring"  ("Fruhlings- 
stimmen  Walzer"),  played  by  Serge 
Koussevitzky  and  the  Boston  Symphony 
Orchestra  on  Victor  6903. 

James  Sherlock's  grand  award  winner, 
"To  the  Ships  of  Sydney,"  calls  for 
music  definitely  changing  with  the  vari- 
ous sequences  and  also  definitely  attuned 
to  the  pictorial  beauty  of  the  film.  For 
this  we  begin  with  "The  Moonlit  Glade," 
from  Ketelbey's  suite,  "In  a  Fairy 
Realm,"  played  by  A.  W.  Ketelbey  and 
His  Orchestra  on  British  Columbia  9409. 

Coincident  with  the  title  referring  to 
the  tugboats  on  a  foggy  day  we  change 
to  Lehar's  "A  Kiss  at  Dawn,"  played 
by  Marek  Weber  and  His  Orchestra  on 
Victor  V50005. 

At  the  end  of  this  sequence,  following 
the  day  shots  of  the  great  Sydney  Har- 
bor bridge  and  a  title  "To  the  hardy 
coasters — "  we  play  Parts  1  and  2  of 
"The  Ploughman  Homeward  Plods  His 
Weary  Way"  from  Ketelbey's  suite, 
"Three  Fanciful  Etchings,"  recorded  by 
Ketelbey  and  his  orchestra  on  British 
Columbia  Records  9406  and  9407. 

At  the  title  ending  ".  .  .  .  the  indus- 
try of  the  Parramatta  River,  together 


February,  1938    •    American  Cinematographer  81 


with  its  dockyards,"  we  change  to  the 
opposite  side  of  British  Columbia  Rec- 
ord 9406.  "A  Passing  Stormcloud  on  a 
Summer  Day,"  from  Ketelbey's  "Three 
Fanciful  Etchings." 

The  next  cue  is  a  title,  "To  the  Lane 
Cove  Ferries — ,"  where  we  change  to 
"Danube  Waves  Waltz"  (Ivanovici)  on 
Columbia  59015F.  The  other  side  of  this 
same  disk  also  is  used  in  the  score  for 
"This  Side  of  Paradise." 

With  the  title,  "To  the  white-winged 
pleasure  craft — •"  we  change  to  the  op- 
posite side  of  the  first  record  used,  an- 
other piece  from  Ketelbey's  "In  a  Fairy 
Realm,"  entitled,  "The  Queen  Fairy 
Dances"  (British  Columbia  9409). 

Finally,  with  the  title  "My  greatest 
treasures — ■"  v/e  close  with  yet  another 
of  Ketelbey's  compositions,  this  time  the 
"Phantom  Melody,"  played  by  Albert 
Sandler  on  British  Columbia  Record 
9863. 

*        *  * 

The  most  intricate  of  these  scores  is 
that  arranged  for  Dr.  Roy  E.  Gersten- 
korn's  "Japan  and  Its  People,"  which 
carried  off  the  honors  in  the  educational 
class.  This  film  strikes  a  variety  of 
tempos  and  moods,  and  accordingly  re- 
quires a  greater  variety  of  musical 
themes  and  a  greater  number  of  records. 

For  the  opening  we  play  Ludwig 
Seide's  "Chinese  Street  Serenade," 
played  by  Dr.  F.  Weissmann  and  the 
Grand  Symphony  Orchestra  of  Berlin  on 
Odeon  Record  3261.  At  the  title  "Mak- 
ing rice  cakes — ,"  we  change  to  Arman- 
dola's  "The  Rose-beetle  Goes  A-wooing," 
recorded  by  Ferdy  Kauffman  and  His 
Orchestra  on  H.m'.V.  B3507. 

At  the  title  "Harvest  time  in  rural 
Japan,"  we  change  to  part  2  of  the 
"African  Motives"  from  Benno  Bardi's 
"Egyptian  Suite,"  played  by  Dajos  Bela 
and  His  Orchestra  on  Odeon  3256.  At 
the  close-up  of  a  Japanese  peasant-wom- 
an in  the  field,  with  a  load  on  her  back, 
we  change  again,  this  time  to  Yoshi- 
tomo's  "Japanese  Lantern  Dance,"  on 
the  other  side  of  the  first  record. 

At  the  close  shot  of  a  baby  taking  a 
bath  in  a  bucket  we  change  to  "Im- 
provisation on  a  Japanese  Tune,"  com- 
posed and  played  by  Efrem  Zimbalist  on 
Columbia  Record  2il0-D. 

When  the  title  introduces  the  sequence 
on  silk  culture  we  change  to  a  theme 
more  appropriate  to  the  busy  hands 
shown,  Buccalossi's  "Grasshoppers' 
Dance,"  played  by  the  Regal  Virtuosi  on 
British  Columbia  Record  DB-1007. 

At  the  title  "Washing  and  drying 
silk"  we  return  to  the  "Japanese  Lan- 
tern Dance."  At  the  title  "Cloisonne 
artist  at  his  task"  we  change  to  Wil- 
liams' "Almond  Blossom,"  recorded  by 
Dol  Dauber  and  His  Orchestra  on  H.M.V. 
B-3916. 

Since  this  is  but  a  ten-inch  disk  we 
repeat  it,  starting  from  the  beginning 
at  the  title  introducing  the  "Flower 
arrangement  school"  sequence. 

As  a  title  introduces  the  sequence 
devoted  to  the  celebration  of  ten  thou- 
sand candles  we  change  to  the  first  move- 
ment of  F.  Popy's  "Suite  Orientale" — 
"The  Bayaderes,"  recorded  by  Dr.  Weiss- 


mann and  the  Grand  Symphony  Orches- 
tra on  Odeon  3262. 

At  the  title  which  indicates  that  this 
ceremony  consists  of  chanting,  striking 
gongs  and  ringing  bells  we  change  to 
music  which,  while  Balinese  instead  of 
Japanese,  is  surprisingly  appropriate. 

This  is  a  record  from  a  special  series 
of  authentic  Oriental  recordings  pre- 
pared under  the  direction  of  Professor 
E.  M.  von  Hornbostel,  entitled  "Music 
of  the  Orient."  This  particular  disk  is 
labelled  Bali  (koeta)  Gender- Wajang 
"Selendero,"  and  is  Odeon's  0-4492a. 

The  close  of  the  picture  takes  us  out 
of  the  temple,  so  we  change  at  the 
title  saying  that  the  shoes  are  left  out- 
side to  "Almond  Blossom"  as  an  ap- 
propriate close. 

*  :^  * 

These  scores,  as  has  been  said,  were 
prepared  for  the  sho\^angs  of  the  prize 
films  at  meetings  of  the  Los  Angeles 
Cinema  Club,  the  Los  Angeles  8mm. 
Club,  and  other  Los  Angeles  groups, 
and  the  records  were  selected  from  the 
writer's  personal  library. 

Readers  can  obtain  most  of  these 
records  in  this  country,  despite  the  fact 
that  many  of  them — the  British  Colum- 


FOR  my  own  part,  a  movie  should 
first  have  as  a  basis  some  idea  to 
be  conveyed  to  the  audience,  be  it 
fact  or  fancy.  Then  there  enters  in 
the  point  of  view  of  the  teller  of  the 
idea — the  director  (or  with  most  ama- 
teur efforts)  the  cameraman. 

After  these  we  are  entitled  to  rea- 
sonably good  camera  work — the  better, 
the  better— but  I  feel  that  flawless  and 
technically  perfect  camera  work  is  lost 
and  wasted  without  a  story  well  told. 

The  story  need  not  be  a  fairy  tale, 
nor  a  world  startling  drama,  but  it  must 
have  a  theme.  It  must  start  from  some 
one  point  and  progress  to  some  other 
point  where  comes  a  logical  ending,  and 
then  it  should  end. 

The  story  may  be  what  takes  place 
in  a  given  factory,  or  in  one  hour  of 
a  man's  life,  or  in  a  certain  community 
— or  even  it  may  be  what  might  or 
could  happen. 


bia,  H.M.V.  and  some  of  the  Odeons — 
are  foreign  issues. 

Some  have  since  been  reissued  do- 
mestically by  American  affiliates  of  these 
firms.  The  H.M.V.  records  can  be  ob- 
tained through  the  RCA-Victor  organi- 
zation; the  British  Columbia  through  the 
(American)  Columbia  company,  though 
these  firms  import  largely  on  special 
order. 

It  is,  however,  highly  probable  a  sur- 
prising number  of  these  foreign  disks 
might  be  immediately  available  from 
the  Gramophone  Shop  in  New  York 
City,  the  foremost  record-importing  con- 
cern in  this  country,  and  one  of  the 
few  where  extensive  stocks  of  foreign 
recordings  are  always  on  hand. 

For  the  benefit  of  those  interested  in 
scoring  their  own  films,  a  special  cata- 
logue of  recorded  "Mood  Music,"  com- 
piled by  the  Central  Record  Informa- 
tion Bureau,  "His  Master's  Voice,"  361 
Oxford  Street,  London,  Wl,  should  be 
most  valuable. 

This  booklet  lists  1200  records  accord- 
ing to  mood  and,  we  understand,  does 
not  confine  itself  to  H.M.V.  records  but 
includes  records  of  several  other  firms 
as  well.  The  price  is  sixpence  (about  12 
cents)  or  eightpence  (16  cents)  postpaid. 


Or  it  may  be  a  dream — anything — 
but  it  must  be  something. 

And  it  must  be  told  logically  and  in 
sequence,  with  some  definite  stopping 
point  where  it  must  end. 

The  great  problem  is  there:  what  to 
film. 

The  next  question  is  solved  differently 
by  each  of  us,  and  therein  is  a  point 
of  interest  —  the  totally  varied  ap- 
proaches that  are  found  in  a  given 
group  of  persons  all  with  more  or  less 
the  same  background. 

For  the  third,  most  cineasts  who  have 
solved  the  rudiments  can  do  reasonably 
capable  camera  work.  Occasionally 
comes  one  who  is  outstanding. 

Person allly,  I  prefer  novelty  of  theme 
and  ingenuity  of  handling  to  perfection 
of  technic.  But  that  is  not  to  be  taken 
as  an  excuse  for  sloppy  or  careless 
camera  work.    By  no  means. 


Authority  on  ""fVhat  It  Takes'' 
IV fites  Views  on  iMoviemaking 

In  a  perfionnl  letter  to  the  editor  Ditvcan  MacD.  Little,  in  ampli- 
fying a  point  under  diacnssion,  sketched  his  own  conception  of 
the  essentials  entering  into  the  making  of  an  amateur  picture.  As 
not  infrequently  happens  one  who  writes  casually,  freely  and 
frankly  and  xvith  no  thought  of  ever  again  seeing  what  he  has 
penned  writes  to  better  advantage.  Relaxation  takes  the  place  of 
the  tension,  witting  or  umvitting,  that  travels  with  writing  for 
publication.  In  the  belief  the  writer  had  compressed  into  three 
hundred  words  more  of  value  to  the  beginner  and  also  in  the  way 
of  a  reminder  to  the  professional  than  may  be  found  in  some 
drama  textbooks  a  hundred  times  its  length  we  asked  Mr.  Little's 
permission  to  reprint.  The  excerpt  follows. 

By  DUNCAN  MACD.  LITTLE 


82       American  Cinematographer    •    February,  1938 


Floor  plan  of  the  main  set  of  UniverHnl's  "Mad  About  Music" 


At  Sea  Level  Valentine 

Builds  Alpine  Crispness 

(Continued  front  Paye  52) 


That  problem  was  solved  by  photo- 
graphic tests. 

For  his  hard  lighting  the  photogra- 
pher employed  the  new  M-R  36-inch 
H.  I.  arc,  the  same  as  employed  in  pho- 
tographing Technicolor  subjects. 

The  making  of  "Mad  About  Music" 
was  different  in  its  general  plan  from  the 
ordinary  procedure.  Many  of  the  interi- 
ors of  this  girls'  school  were  under  one 
roof,  which  also  of  course  was  true  of 
some  of  its  exteriors.  Among  the  in- 
teriors were  the  dining  room,  living 
room,  main  stair  hall,  corridor,  office, 
classroom,  gatekeeper's  hall  and  the 
room  occupied  by  the  star.  Each  room 
was  of  four  walls  and  beamed  ceilings. 
Also  there  were  sets  on  other  stages. 

The  dimensions  of  the  stage  are  150 
feet  wide  and  270  feet  long,  or  a  total 
length  of  walls  of  840  feet.  Into  this 
stage  had  been  erected  a  scenic  backing 
37  V2  feet  in  height  extending  in  two 
sections  a  distance  of  475  feet.  For 


Showing  actual  scene  in  IJniversal's 
"Mad  About  Music."  Gloria  Harkinson 
(Deanna  Durbin)  in  her  happiness  at 
her  reunion  with  her  mother  sings  "Ser- 
enade to  a  Star"  at  the  c/arden  party 
at  the  school.  The  singer  is  surrounded 
by  twenty-four  fellow-pupils  —  all  of 
them  carefully  selected  to  duplicate  her 
age  and  figure.  In  identical  garb  it 
seems    there   are    twenty-five  Deannas. 


panoramic  purposes  as  occasion  made  nec- 
essary a  "vdld"  wall  was  rolled  into  one 
of  the  two  open  spaces,  very  nearly  com- 
pleting the  entire  circle  of  the  stage. 

This  backing  had  been  constructed 
under  the  supervision  of  the  art  depart- 
ment, at  the  head  of  which  is  Jack  Ot- 
terson.  According  to  custom  at  the  final 
okeh  of  the  script  it  had  been  turned 
over  to  the  art  department.  There  the 
script  was  "broken  down,"  or  dissected 
for  the  determination  of  the  necessary 
sets,  rough  sketches  of  which  promptly 
were  made. 


Then  the  sketch  artists  began  an  an- 
alysis for  the  making  of  building  plans. 
For  these  an  okeh  was  secured  from  the 
producer  and  director.  The  main  ob- 
jective wa.s  the  creation  and  preserva- 
tion of  Swiss  atmosphere,  with  the  tow- 
ering mountains  always  in  the  picture 
whenever  a  player  stepped  outside  a 
door. 

Creating  Swiss  Atmosphere 
The  researchers  drew  on  Swiss  books 
for  the  benefit  of  the  architects  who 
were  to  design  the  several  buildings.  In- 
cidentally Cameraman  Valentine  has  an 
extensive  library  of  his  own,  a  goodly 
proportion  of  which  treats  of  European 
buildings  and  customs  and  people,  se- 
lected with  care  from  various  art  centers 
abroad. 

The  finished  result  was  the  creation  of 
a  modernized  version  of  typical  Swiss 
architecture,  the  art  department  never 
losing  sight  of  the  fact  the  story  was  a 
phantasy,  aiming  to  preserve  a  balanced 
atmosphere.  Swiss  flowers  were  dupli- 
cated, not  the  delicate  product  of  the 
prop  department  but  sturdy  potted  ex- 
amples of  the  real  thing. 

Much  comment  was  created  among 
those  who  understand  what  is  meant  by 
the  procedure  when  it  was  learned  why 
no  sound  followed  the  act  of  walking  on 
the  gravel.  No  sound  was  intended  to 
be  heard.  That  was  why  cork  was 
ground  and  placed  where  gravel  was  sup- 
posed to  be.  But  the  screened  illusion 
was  perfect. 

It  may  be  of  interest  to  note  the  great 
scenic  background  portraying  the  Al- 
pine heights  was  not  in  straight  black 
and  white.  To  the  contrary,  it  was 
painted  in  natural  colors,  as  John  Ewing 
of  the  Universal  art  department  re- 
marked is  the  trend  of  stage  practice 
today. 

What  interested  the  personnel  of  the 


February,  1938    •    American  Cinematographer  83 


Demonstrating  the  artistry  and  craftsmanship  that  entered  into  the  preparations 
for  the  making  of  UniversaVs  "Mad  About  Music"  is  the  photograph  removed  from 
his  private  set  files  by  A7-t  Director  Jack  Otterson.  Note  the  attention  to  the  light- 
ing of  this  set — just  as  if  it  ivere  peopled  with  players;  the  crispness  of  the  shadoiv 
on  the  wall  at  the  left  of  the  entrance.  The  set  may  be  identified  on  the  plan  on  the 
opposite  page  as  the  entrance  in  the  northeast  corner  directly  under  "Road." 


department  was  that  during  the  making 
of  the  picture  Operative  Cameraman 
Bob  Surtees  had  taken  pictures  of  the 
backing  in  Kodachrome  stills,  the  results 
of  which  verified  the  department's  con- 
ception of  what  the  photographed  results 
should  be. 

Something  unique  in  the  creation  of 
the  sets  was  the  attention  paid  to  hand 
decorating,  this  being  particularly  not- 
able because  of  the  size  of  the  staging. 
In  the  creation  of  the  approximately 
18,000  square  feet  of  scenic  backing 
nearly  two  weeks  were  required  for  the 
completion.  The  actual  painting  was  ac- 
complished in  eleven  days. 

The  many  square  feet  of  grass  mat 
which  cover  the  open  sets  are  made  all 
the  more  authentic,  the  more  lifelike,  by 
sprinkling  them  with  the  cuttings  from 
genuine  lawns.  These  are  replaced  as 
is  necessary. 

The  cameraman  has  been  responsible 
for  the  photography  of  the  three  major 
subjects  in  which  Deanna  Durbin  has 
been  featured — "Three  Smart  Girls," 
"100  Men  and  a  Girl"  and  the  pi-esent 
one.  Like  other  adults  who  have  worked 
with  this  girl  so  unusually  equipped  he 
is  a  Durbin  partisan. 

Joe  Pasternak,  producer  of  "Mad 
About  Music,"  also  has  served  in  the 
same  capacity  on  the  series  of  Durbin 
features.  Norman  Taurog  is  directing 
the  production. 

Eight  Hours  for  Deanna 

What  may  not  be  generally  known  is 
that  the  young  singer  is  not  permitted  to 
be  on  the  studio  lot  more  than  eight 
hours  a  day.  That  is  on  account  of  her 
minority.  Her  time  does  not  begin  when 
she  steps  on  the  stage,  all  made  up. 
Rather  it  starts  as  she  enters  the  studio, 
before  the  make-up  artist  and  the  hair- 
dresser  have   consumed   their  allotted 


hour  and  a  half  to  prepare  the  player 
to  face  the  camera. 

On  the  Universal  lot  is  a  miniature 
but  most  attractive  art  display  showing 
in  water  colors  the  realized  conceptions 
of  the  artists  as  inspired  by  the  sketch 
artists  after  reading  the  cold-blooded 
script  of  the  writers.  The  display,  com- 
posed of  some  twoscore   subjects/  and 


adorning  the  office  of  Chief  Otterson, 
visualizes  the  various  structures  consti- 
tuting the  staging  of  "Mad  About 
Music." 

When  the  picture  is  completed  all  of 
these  buildings,  specially  created,  will 
be  reinstalled  on  the  back  lot,  there  to 
serve  at  some  time  in  the  future  for 
"such  matter  as  then  may  be  born  in  it." 


'Hints  and  Gadgets'  Contains 

Tips  to  IVorking  Camcrists 


THE  American  Photographic  Pub- 
lishing Company,  428  Newbury 
street,  Boston  17,  has  issued 
"Photographic  Hints  and  Gadgets," 
edited  by  Frank  R.  Fragrie  and  Franklin 
I.  Jordan.  The  price  is  S3.50.  There  are 
250  articles  with  nearly  500  illustrations. 
The  book  has  316  pages  and  is  finely 
printed,  with  a  quality  of  paper  that 
makes  the  publication  weigh  in  excess 
of  two  pounds.  The  type  is  a  lean  8 
point  on  9  that  packs  many  words  in  a 
page. 

The  book  is  of  a  character  that  will 
delay  the  normal  bedtime  of  many  a 
camerist.  As  the  preface  of  the  publica- 
tion sets  forth,  "no  one  person  could 
ever  think  up  half  the  things  it  contains. 
It  came  out  of  the  sweat  and  toil  and 
practical  experience  of  hundreds  of  en- 
thusiastic photographers  whose  nimble 


wits  have  devised  these  clever  mechanical 
means  for  overcoming  some  of  the  many 
difficulties  that  stand  between  them  and 
the  attainment  of  their  goal." 

The  editors  say — and  the  statement 
seems  justified  by  the  variety  and 
quality  of  the  gadgets  described — that 
at  their  invitation  for  suggestions  they 
were  swamped  with  an  avalanche  of 
manuscripts  from  all  over  the  English- 
speaking  world.  They  add  the  book 
contains  many  items  not  regularly 
marketed. 

In  the  listed  Contents  are  seven  sub- 
jects, in  Cases  and  Outfits  four.  Minia- 
ture Cameras  three.  Aerial  Cameras 
three.  Adapters  nine.  Tripods  thirteen, 
Lens  Shades  seven,  Optics  six.  Exposure 
three,  focusing  four.  Synchronizers  five. 
Light  Controls  eight.  Lights  eight.  Dark- 
rooms five.  Darkroom  Helps  twenty-six, 


Film  Development  ten,  Temperature  Con- 
trol four.  Timers  six.  Chemistry  three. 
Washers  nine.  Drying  ten.  Negatives 
eight,  Retouching  four,  Printers  five, 
Printing  five,  Enlargers  seven.  Easels 
nine,  Enlarging  five. 

Reducing  carries  three  articles.  Trim- 
ming three.  Mounting  three,  Color  three. 
Copying  five.  Micro  one,  Table  Top  three, 
Nature  seven,  and  under  Miscellaneous 
there  are  twenty-nine  articles. 

The  foregoing  gives  a  comprehensive 
idea  of  the  variety  and  appeal  of  the 
subjects  contained  in  the  pages  of  this 
unusual  book. 


James  E.  McGhee  has  been  appointed 
genera]  sales  manager  of  the  Eastman 
Kodak  Company,  filling  a  position  vacant 
three  years. 

The  new  sales  manager  joined  the 
Kodak  Company  in  1920  and  served  for 
six  and  a  half  years  as  a  demonstrator 
in  the  medical  division,  maintaining 
contact  with  users  of  x-ray  film.  He  was 
transferred  in  1927  to  the  company's 
Chicago  branch  as  assistant  branch 
manager.  He  entered  the  sales  depart- 
ment at  the  Kodak  Office,  Rochester,  in 
1931. 


84      American  Cinematogbapher    •    February,  1938 


Polito  Matches  Daylight 

(Continued  from  Page  5^) 
You   use   arc   lighting   instead   of  in- 
candescent— "hard     light"     instead  of 
"soft"- — but    your   actual    lighting  bal- 
ance need  not  change  appreciably. 

You  do  have  a  definite  advantage  in 
the  equipment  you  use,  however,  for  the 
arc  lighting  units  used  on  modern  Tech- 
nicolor pictures  were  developed  by  Mole- 
Richardson  especially  for  use  with  the 
new  three-color  version  of  the  Techni- 
color process.  As  a  result,  these  H.  I. 
Arcs,  Ultra  H.  I.  Arcs  and  Side  Arcs 
are  considerably  more  efficient  than  most 
of  the  lamps  supplied  for  regular  black- 
and-white  camerawork. 

A  Lighting  Trick 

I  have  noticed  that  in  most  studios, 
the  cinematographers  use  the  Solarspot 
incandescent  spotlights  wherever  smooth, 
precisely  controllable  beams  are  impera- 
tive; and  these  "H.  I.  Arc"  spotlights 
are  arc  units  of  the  same  general  de- 
sign. Picture  what  you  can  do  in  sim- 
plifying lighting  when  all  of  your  spot- 
lighting units  are  of  such  a  modern, 
efficient  type! 

Incidentally,  I  learned  a  little  trick 
of  lighting  faces  which  I  have  carried 
over  to  my  black-and-white  camerawork 
with  good  effect.  In  the  closer  shots  in 
my  Technicolor  picture,  I  found  it  ex- 
tremely handy  to  use  the  little  Baby 
Solarspots  fitted  with  Photoflood  globes 
and,  of  course,  the  special  daylight  blue 
filters  that  correct  their  light  to  co- 
ordinate with  the  arcs.  In  the  black-and- 
white  production  I  am  now  filming  I 
have  found  the  combination  of  small 
Solarspots  and  Photoflood  globes  inval- 
uable in  lighting  faces. 

Real  Advantage 

There  is  one  peculiarity  common  to 
all  color  processes.  Some  colors  can  be 
most  objectionably  obtrusive  at  times. 
In  black-and-white,  for  instance,  you 
can  work  on  a  set  with  vivid  red  walls, 
serene  in  the  knowledge  that  that  shade 
of  red  will  come  out  a  dark  gray  on  the 
screen. 

But  in  color  those  identical  red  walls 
very  easily  may  be  exaggerated  into 
something  that  can  steal  the  scene  from 
a  whole  troupe  of  Academy  Award 
actors. 

But — in  color,  you  have  one  very  beau- 
tiful advantage.  If  you  don't  want  any 
color  to  show  on  the  screen  all  you 
have  to  do  is  keep  the  light  away  from 
it!  Simply  don't  illuminate  that  area, 
and  your  objectionable  color  is  literal- 
ly eliminated  from  the  picture. 

When  you  consider  the  technical  con- 
ditions of  lighting  a  modern  color  set, 
where  you  have  almost  no  worries  about 
"spilled  light"  you  can  see  how  easy 
this  technique  is.  , 

Camera  May  Subdue 
Here,  by  the  way,  is  where  the  cine- 
matographer  faced  with  the  problems 
created  by  one  of  those  art  directors  who 
tries  to  tell  the  story  with  exaggerated 
"color  moods"  has  a  tremendous  advan- 
tage.    Of  course,  the  coloring  of  sets 


and  costumes  designed  for  color  pictures 
should  by  all  means  be  soft  and  unob- 
trusive; but  if  they  are  not,  the  cinema- 
tographer  has  in  his  lighting  a  very 
potent  means  of  making  them  conform 
to  good  taste. 

In  lighting  Technicolor  scenes  there 
has  been,  I  think,  too  much  fear  of  shad- 
ows. Of  course,  a  really  wrongly  placed 
shadow  can  be  a  pictorial  liability;  but 
in  many  instances  ordinary  shadows 
which,  in  a  monochrome  scene  would  be 
bad,  can,  in  a  Technicolor  scene,  be  quite 
natural  or  even,  in  some  cases,  a  positive 
advantage. 

For  instance,  su|)pose  we  are  shooting 
an  exterior  scene  of  a  man,  in  the  sun- 
light, wearing  a  large  hat.  In  real  life, 
we  would  see  a  heavy  shadow  over  his 
eyes,  cast  by  the  brim  of  his  hat. 

Iln  black-and-white  it  has  become  tra- 
ditional to  lighten  or  often  eliminate 
that  shadow  with  reflectors  or  booster 
lights.  In  monochrome  this  technique 
may  be  desirable,  but  in  color  I  have 
found  it  often  makes  the  scene  more 
real  if  you  let  that  shadow  remain,  ex- 
actly as  the  eye  sees  it. 

Useful  in  Color 

In  the  same  way,  I  have  found  it  is 
often  an  excellent  trick  of  Technicolor 
pictorialism  to  have  some  prominent  ob- 
ject— a  figure,  or  a  part  of  the  set — 
either  silhouetted  or  semi-silhouetted  in 
the  immediate  foreground,  while  the 
main  action  of  your  scene  takes  place 
in  a  more  brilliantly  lighted  middle- 
distance  which,  in  turn,  might  be  con- 


KODACHROME 

DUPLICATES  It::: 

STITH-NOBLE  CORP. 

YO  0S31 

645  North  Martel  Ave.,  Hollywood,  Calif. 


HUGO 

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^^PEIOS  Vl5  TO  f/5.5 

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Jr    HUGO  MEYER  &  CO. 

^       245  W.  55  ST.,NKWYO«K 

"NATIONAL"  Services  the  Country! 

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A.  Complete  lists  of  8  or  16  mm.  Cartoons,  Trav- 
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trasted  against  a  darker  colored  (not 
darker  lit)  background. 

For  years  this  has  been  a  useful  trick 
in  black-and-white;  now  it  is  just  as 
useful  in  color.  Perhaps  it  is  even 
more  useful,  for  you  have  color  con- 
trasts as  well  as  lighting  contrasts  to 
help  give  your  .scene  depth. 

In  the  same  way  I  have  found  that 
very  impressive  color  scenes  can  be 
made  playing  your  action  through  brok- 
en shadows.  One  of  the  more  effective 
scenes  in  "Gold  Is  Where  You  Find  It" 
was  one  in  which  the  farmers,  led  by 
Claude  Rains,  march  to  attack  the  min- 
ers. 

In  this  scene  the  figures  move  under 
a  canopy  of  trees,  alternately  passing 
through  beams  of  sunlight  and  patches 
of  shadow.  In  black-and-white  such  a 
shot  would  give  you  a  more  positive 
feeling  of  the  actors'  movement;  in 
color,  this  illusion  is  very  strongly 
heightened. 

Of  course,  either  in  monochrome  or 
in  color,  such  a  scene  might  very  prob- 
ably require  some  use  of  reflectors  or 
booster  lights  to  keep  the  shadows  from 
dropping  off  to  absolute  opacity.  This 
brings  us  to  another  phase  of  color 
filming.  In  photographing  color,  by  any 
process,  the  color  of  the  lighting  is  im- 
portant. In  Technicolor,  the  whole  proc- 
ess is  keyed  to  the  color  standard  of 
normal  daylight. 

This  means  that  any  type  of  reflected 
natural  light  or  artificial  light  used  to 
supplement  daylight  on  exterior  scenes 
must  also  conform  to  the  daylight  stand- 
ard. If  you  use  reflectors  you  must 
therefore  use  silver  reflectors,  rather 
than  the  gold  ones  we  so  generally  use 
in  monochrome  exteriors.  And  while 
no  reflectors  are  easy  on  the  actors' 
eyes  the  silver  reflectors  are  particularly 
bad  offenders  in  this  respect. 

Matching  Daylight 

It  is  therefore  very  fortunate  the  arc 
lighting  units  normally  used  for  modern 
Technicolor  photography  are  inherently 
corrected  to  match  the  daylight  standard. 
The  Mole-Richardson  Side  Arcs  used  for 
floodlighting  are  an  almost  perfect 
match  for  daylight. 

The  M-R  high  intensity  arc  spotlights, 
from  the  handy  little  65-amp.  spotlight 
up  to  the  big  150-amp.  Type  170  H.  I. 
Arc,  match  daylight  perfectly  if  used 
with  their  regular  straw-colored  gela- 
tin filters. 

And  they  are  much  easier  for  the 
actors  to  face  than  any  reflectors.  So 
w'hen  it  comes  to  exterior  scenes  in 
color  the  cintematographer  has  the 
pleasant  advantage  of  knowing  that 
while  booster  lighting  will  give  him 
better  control  of  his  illumination  than 
if  he  used  reflectors  he  is  in  addition 
giving  the  members  of  his  cast  a  break 
in  providing  them  more  comfortable 
working  conditions. 

This  is  particularly  important  with 
some  of  our  stars,  who  have  weakened 
their  eyes  by  always  wearing  smoked 
glasses  when  they  are  outdoors. 

The  range  of  exterior  lighting  ef- 
fects possible  in  color  is  really  surpris- 


February,  1938    •    American  Cinematographer  85 


ing.  Of  course,  you  have  to  pick  the 
right  conditions  for  such  effect  shots, 
just  as  you  would  in  black-and-white. 
One  of  the  most  generally  praised  shots 
in  "Gold  Is  Where  You  Find  It"  was 
a  night  effect  shot  of  the  "monitors" 
of  the  hydraulic  miners  working  at 
night,  illuminated  by  fires  and  torches. 
This  scene  was  actually  shot  at  dusk, 
which  gave  me  the  bluish  overall  cast 
suggesting  night,  and  still  permitted 
the  flares  and  torches  to  pick  up  on  the 
film. 

Good  Cooperation 

In  closing,  I  would  like  to  pay  tribute 
to  the  cooperation  given  me  by  my  fellow 
workers  on  "Gold  Is  Where  You  Find 
It."  Director  Michael  Curtiz,  as  usual, 
went  out  of  his  way  to  help  me  in  my 
efforts  to  obtain  effective  photography. 

My  own  camera  crew,  and  also  the 
Technicolor  technicians  who  worked 
with  them,  cooperated  splendidly,  and 
deserve  much  credit  for  the  results 
achieved.  The  many  members  of  the 
Technicolor  organization,  from  the  offi- 
cials down  to  the  humblest  worker  in 
the  laboratory,  also  seemed  to  take  es- 
pecial pains  to  help  me  feel  at  home 
with  their  process,  and  I  am  deeply 
grateful  for  their  friendship  and  co- 
operation. 

Finally,  I  would  like  to  pay  tribute 
to  Byron  Haskin,  A.S.C.,  and  his  special 
effects  staff.  Traditionally  it  has  been 
held  against  color  that  you  could  not 
do  much  in  the  way  of  special  effects 
camerawork  in  a  color  picture. 

But  in  this  picture  Haskin  and  his 
colleagues  have  done — in  Technicolor — 
just  about  every  kind  of  trick  camera- 
work you  would  expect  to  find  in  the 
picture  had  we  filmed  it  in  monochrome: 
Glass  shots — some  of  the  finest  anyone 
has  ever  done  in  either  monochrome  or 
color;  miniatures,  large  scale  projected 
background  process  shots,  and  process 
shots  where  a  miniature  was  used  as 
a  background. 

Once  a  Photographer  .  .  . 

It  is  not  my  province  to  say  how 
these  were  done,  but  I  would  like  to  go 
on  record  now  as  saying  that  Haskin 
and  his  associates  have  accomplished 
great  things,  not  only  in  using  existing 
equipment  for  this  work  and  in  devising 
special  equipment  for  it,  but  in  the 
results  they  have  put  on  the  screen.  They 
are  to  be  congratulated. 

All  of  which  brings  us  back  to  our 
original  premise:  There  is  really  little 
to  be  said  about  using  the  modern  Tech- 
nicolor process  and  the  lighting  and 
other  equipment  that  go  with  it. 

If  you  can  photograph  a  picture  well 
in  black-and-white  you  will  find  that 
there  is  surprisingly  little  to  do  in 
adapting  yourself  to  color.  An  under- 
standing of  the  basic  limitations  of  any 
color  process — an  appreciation  of  how 
color  contrasts  as  well  as  lighting  con- 
trasts affect  your  composition — and  a 
few  little  changes  in  lighting  and  ex- 
posure methods  and — there  you  are! 

Really,  no  cameraman  need  be  worried 
about  the  coming  of  color. 


''Pttz  Palu'  Makes  Genuine  Hit 
IVhen  Revived  at  Fourth  Evening 


THE  fourth  of  the  series  of  Eight 
Motion  Picture  Evenings  sponsored 
by  Mr.  and  Mrs.  Duncan  MacD.  Little 
and  Thomas  H.  S.  Andrews  was  held 
January  8  at  the  Littles'  home  in  New 
York. 

The  program  began  with  George  A. 
Ward's  "The  Last  Review,"  a  most  inter- 
esting and  worthy  film  made  in  1934, 
which  in  that  year  won  a  "Ten  Best" 
rating  by  the  Amateur  Cinema  League 
as  well  as  the  Metropolitan  Cup,  annu- 
ally awarded  by  the  Metropolitan  Motion 
Picture  Club  of  New  York. 

The  subject  of  this  film  is  the  shifting 
of  a  field  artillery  unit  from  "horse- 
drawn"  to  "motorized,"  and  winds  up 
with  a  regimental  review.  There  is  a 
dramatic  twist  to  the  picture  which  con- 
tributes to  the  strength  of  an  excellent 
subject. 

The  second  half  of  the  program  was 
"The  White  Hell  of  Pitz  Palu,"  pro- 
duced sevei-al  years  ago  under  the  co- 
direction  of  G.  W.  Pabst  with  the  author. 
Dr.  Arnold  Frenck. 

Even  with  the  passing  of  the  years  and 
the  so-called  improvement  of  the  cinema 
this  is  a  great  picture.  The  sponsors 
hope  to  screen  it  again,  and  are  confident 
it  will  lose  nothing  in  another  ten  years. 

Several  interesting  sidelights  came 
out  in  conversations  after  the  screen- 
ing. 

Several    interesting    sidelights  came 


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out  in  conversations  after  the  screening. 
One  of  the  group  is  a  mountain  climb- 
er and  he  knows  every  crack  and  cranny 
of  Palu.  It  was  the  first  "real  moun- 
tain" that  he  scaled,  and  he  suggested 
the  "north  wall"  is  quite  as  bad  as  it 
is  shown  to  be  in  the  film. 

Another  comment  was  that  Ernst 
Udet,  the  "Avialor"  of  the  story,  today 
is  one  of  the  high  ranking  aviators  of 
the  Reich,  while  yet  another  interesting 
bit  was  that  Leni  Riefendahl  is  now  an 
outstanding  if  not  an  internationally 
known  photographer  and  a  person  well 
known  in  her  own  land. 


Eastman  Announces  Steel 
Cut  and  Film  Pack  Tank 

A  new  stainless  steel  developing  tank 
for  cut  and  pack  film,  incorporating  a 
molded  reel  of  novel  design,  is  announced 
from  Rochester  by  the  Eastman  Kodak 
Company. 

The  new  tank  (Kodak  adjustable  cut 
film  pack  tank)  will  accommodate  all 
amateur  film  sizes  from  4.5  by  6  cm.  to 
314  by  414  inches.  This  flexibility  of 
use  is  obtained  through  use  of  two  cores 
on  which  the  molded  reel  flanges  slide. 
Notched  markings  on  the  cores  enable 
the  user  to  adjust  the  reel  quickly  to 
any  one  of  twelve  film  sizes. 

The  tank  accommodates  twelve  films 
up  to  2V2  by  and  six  films  of  2V2 
by  4V4  or  3%  by  AVa,.  Once  the  loaded 
reel  is  placed  in  the  steel  tank,  and  the 
molded  cover  slipped  on,  developing,  fix- 
ing and  washing  may  be  completed  in 
daylight.  The  tank  reel  is  designed  to 
permit  full  circulation  of  solutions,  and 
films  are  held  in  curved  position  to  pre- 
vent buckling  and  contact  with  each 
other. 


Third  RoUeicord  Salon  Is 
Set  for  May  2  in  New  York 

The  Third  RoUei-Show  is  scheduled 
to  open  May  2  at  Rockefeller  Center, 
New  York.  Exhibitors  from  all  parts 
of  the  nation  are  expected  to  participate. 
All  entries  must  be  in  by  April  IGth. 
The  salon  is  being  held  primarily  to 
stimulate  interest  in  advanced  photog- 
raphy among  users  of  the  Rolleicord, 
Rolleiflex,  Heidoscope  and  Rolleidoscope 
cameras,  made  by  Franke  &  Heidecke 
and  distributed  in  the  United  States 
by  Burleigh  Brooks,  Inc. 

Entries  should  be  sent  to  Burleigh 
Brooks,  Inc.,  127  West  Forty-second 
street,  New  York.  There  is  no  entry 
charge.  A  total  of  $450  in  thirty-one 
cash  prizes  will  be  awarded. 


German  Cinema  Capacity 

Latest  statistics  show  that  there  were 
in  Germany  at  the  close  of  1937  a  total 
of  5395  cinemas  with  seating  capacity 
of  1,992,854.  The  aggregate  attendance 
for  the  year  is  estimated  at  400,000,000. 


86       American  Cinematographer    •    February,  1938 


Los  Angeles  8mm  Club 

THE  January  meeting  was  held 
at  the  Mesa  Street  School  Audi- 
torium, 2611  West  52nd  Street, 
with  280  persons,  the  largest  atten- 
dance in  the  history  of  our  club.  The 
meeting  was  called  to  order  by  President 
C.  G.  Cornell.  The  following  commit- 
tees were  named : 

News  Items,  William  Horton,  chair- 
man; R.  E.  Cunningham. 

Social,  A.  Vincent  Hague,  chairman; 
Leon  C.  Sprague,  A.  J.  Zeman,  Doris 
Lee. 

Still  Photographers,  James  B.  Ridge, 
chairman;  Henry  Huddleston,  P.  M. 
Niersbach. 

Technical,  C.  W.  A.  Cadarette,  chair- 
man; Randolph  B.  Clardy,  Dr.  F.  R. 
Loscher. 

Thru  The  Filter,  Jane  Gay,  editor; 
Randolph  B.  Clardy,  assistant  editor; 
Jack  Taylor-,  assistant  crank  turner; 
Milton  R.  Armstrong,  article  writer;  P. 
M.  Niersbach,  technical  reporter;  Dr. 
John  M.  Griffin,  reporter;  Sergeant 
Robert  W.  Teorey,  foreign  correspond- 
ent. 

Ladies,  Charlotte  Armstrong,  chair- 
man; Lois  Bingham. 

William  Stull,  with  his  own  musical 
scoring,  presented  seven  winners  of  the 
Cinematographers  international  contest. 
It  seemed  to  be  the  general  opinion  the 
1937  group  as  a  whole  exceeded  in  qual- 
ity any  previous  prize  winners. 

The  meeting  adjourned  at  10:50  p.m. 
at  the  end  of  a  most  delightfully  educa- 
tional evening. 

Bion  B.  Vogel,  secretary 
▼ 

Philadelphia  Cinema 

The  meeting  Tuesday,  January  11, 
was  given  over  to  the  Eastman  Kodak 
Company  for  a  demonstration  of  the 
new  Eastman  Sound  Kodascope  Special 
and  other  Eastman  products.  A  film 
dealing  with  photography  by  polarized 
light  was  shown  and  in  addition  two 
films  sent  from  the  Eastman  Labora- 
tories especially  for  the  meeting. 


Thalhammer  "Midget"  Kino-Pano-Tilt 


This  little  tripod  head  em- 
bodies in  it  all  the  pat- 
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Professional  Model  —  with 
the  same  design  and  care- 
ful workmanship.  For  East- 
man, Filmo,  Keystone,  etc., 
and  the  8  mm.  Cine 
Camera — weighs  only  10  oz.  Fits  any  tripod 
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121  S.  Fremont  Ave.,  A2    LOS  ANGELES,  CALIF. 


Mr.  Metzler,  one  of  the  members,  an- 
swered questions  on  polarized  light,  and 
Mr.  Hunter  demonstrated  and  answered 
(juestions  regarding  the  sound  projector. 
Both  men  are  associated  with  the  local 
Eastman  Stores. 

The  members  of  the  Philadelphia 
Cinema  Club  had  been  invited  to  at- 
tend a  lecture  at  the  Engineers'  Club 
on  Monday  evening,  January  10.  Dr. 
Fordice  Tuttle  of  the  Eastman  Labora- 
tories talked  on  "High  Speed  Photog- 
raphy." The  program  was  under  the 
auspices  of  the  American  Institute  of 
Electrical  Engineers. 

Applications  for  membership  in  the 
Club  now  on  hand  will  bring  our  mem- 
bership to  its  full  limit. 

A.  L.  0.  Rasch,  Secretary-Treasurer. 


Cinema  Club 
of  San  Francisco 

The  first  regular  meeting  of  the  year 
was  held  Tuesday,  January  25,  at  the 
California  Camera  Clubrooms,  45  Polk 
street. 

A  particularly  timely  subject  was  pre- 
sented,  that  of   "Proper  Lighting  for 


I 


GOER 


SI 


KINO-HYPAR 

ANASTIGMATS 

F:2.7  and  F:3 

are  LENSES  made  in  focal 
lengths  from  15mm.  to  100mm. 
that  can  be  fitted  in  suitable 
focusing  mounts  to  Amateur  and 
Professional 

MOVIE  CAMERAS 

They  give  microscopic  definition 
and  the  resulting  image  has  re- 
markable brilliance  and  crisp- 
ncss. 

The  production  of 

CINEMATIC 

ACCESSORIES 

such  as  Effect  and  Trick  Devices, 
Vignetters,  etc.,  has  been  our 
specialty  for  years. 

The  GOERZ 

REFLEX  FOCUSER  and 
the  VARIABLE  FIELD 
VIEW  FINDER  are  preci- 
sion instruments  useful  in 
MOVIE  MAKING. 

Address  Dept.  A.C.2 

C.  p.  GOERZ  AMERICAN 
OPTICAL  COMPANY 

317  E.  34th  St.,  New  York,  N.  Y. 


Indoor  Pictures."  The  talk  was  given 
by  O.  J.  Smith  of  the  Eastman  Kodak 
Company. 

L.  T.  Haines  of  Atlas  Educational 
Film,  demonstrated  the  Ampro  line  of 
.sound  projectors  as  well  as  the  com- 
pany's latest  model  of  silent  projector. 

The  Pacific  Films  Company,  which  has 
a  free  and  rental  film  exchange,  showed 
two  400-foot  reels  of  winter  sports. 

E.  G.  PETHERICK,  President. 
▼ 

Metropolitan  MP  Club 

At  the  regular  monthly  meeting  of  the 
Metropolitan  Motion  Picture  Club,  held 
Januaiy  13,  in  Radio  City,  New  York, 
the  films  winning  highest  honors  in  the 
annual  club  contest  were  announced. 
"Little  Sherlock,"  by  MMPC  President 
Charles  J.  Carbonaro,  was  pronounced 
best  film  of  the  contest. 

Best  film  in  the  topical  and  miscella- 
neous group  was  "Mother  Earth,"  by 
Charles  A.  Ferrie,  Jr.,  an  8mm  film. 
The  best  film  in  the  travel  and  scenic 
group  was  "Autumntide  in  Yugoslavia" 
by  Dr.  Konstantin  J.  Kostich,  a  native 
of  this  country.  The  kodachrome  film 
of  bicycling,  "Under  Your  Own  Power," 
by  Sidney  Moritz,  was  judged  third  best. 

In  Close-Up,  Metropolitan's  bulletin, 
we  learn  that  at  the  December  meeting 
Charles  Coles  presented  a  very  interest- 
ing lecture  on  the  not  too  technical  as- 
pects of  the  Hayden-Grace  Peru  Eclipse 
Expedition  through  the  use  of  hand  col- 
ored slides  accompanied  by  spicy  com- 
ment. 

This  was  followed  by  the  projection  of 
"Eclipse  Over  Peru",  two  reels  of  koda- 
chrome depicting  both  the  trip  and  the 
actual  filming  of  the  eclipse.  The  sub- 
tropical background  music  used  with  this 
film  was  particularly  well  chosen. 

A  dee-vice  to  end  all  devices  might 
well  describe  the  titler  demonstrated  by 
William  P.  Brandegee.  Designed  and 
built  by  Mr.  Brandegee,  this  titler  will, 
he  assures  us,  do  everything  but  fly.  The 
roil  of  film  which  he  projected  certainly 
seemed  to  justify  his  claim  that  he  can 
reproduce  any  efi'ect  now  used  on  the 
professional  screen.  Few  magicians  are 
able  to  pull  as  many  tricks  from  such 
an  innocent  looking  piece  of  apparatus 
as  Mr.  Brandegee  showed  with  his 
diminutive  titler.  The  only  thing  Mr. 
Brandegee  failed  to  tell  was  how,  after 
taking  the  time  to  build  such  a  gadget 
as  this,  one  can  still  find  time  to  make 
movies ! 


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February,  1938    •    American  Cinematographer  87 


Kodachrome  and  Dufaycolor  snow 
scenes  are  especially  beautiful  on 
a  Da-Lite  glass-beaded  screen;  for 
they  are  brilliantly  lighted,  yet 
there  is  no  sparkling  or  glare. 
The  beads  are  guaranteed  not  to 
shatter  off.  Da-Lite  glass-beaded 
screens  are  available  in  many- 
styles  including  the  famous  Chal- 
lenger with  tripod  attached,  which 
can  be  set  up  anywhere. 


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You  will  be  amazed  at  the  realism  which  results  from 
the  more  brilliant  illumination  made  possible  by 
Da-Lite  glass-beaded  screens.  Every  shot  is  brighter 
and  clearer.  All  color  values  of  color  and  black  and 
white  film  are  faithfully  reproduced.  See  Da-Lite 
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Model  Theatre  in  Home 

(Continued  from  Page  71) 
not  be  a  bit  crowded.  But  this  is  no 
remodeled  coat-closet.  It  is  a  room 
specially  designed  to  house  its  cinematic 
equipment.  The  booth  is  eight  feet 
square,  and  has  ample  elbow-room. 

Actually,  in  addition  to  this  sound 
and  picture  projection  paraphernalia, 
there  is  a  cutting  bench,  a  cabinet  for 
storing  several  score  phonograph  rec- 
ords, and  a  total  of  35  feet  of  shelv- 
ing for  storing  film.  Ventilation  ?  That 
is  provided  by  a  special  forced  draught 
cold  air  intake  from  outside  the  house. 

Quite  incidentally — though  of  vast 
practical  importance  when  presenting 
continuous  shows  with  two  projectors — is 
the  fact  that  the  booth  is  fitted  with 
an  automatic  changeover  device.  As  one 
projector  comes  to  the  end  of  its  reel 
the  other  is  threaded  up  and  started 
running,  with  its  light  dark. 

Quick  Switch 

At  the  desired  split-second,  the  op- 
erator flips  a  switch  and — presto! — the 
exciter  lamp  and  projection  lamp  of  the 
incoming  projector  are  turned  on,  those 
on  the  other  turned  off,  and  the  ampli- 
fier switched  over  to  the  second  ma- 
chine's sound  pick-up. 

All  of  which  might  go  to  prove  that 
the  hand — backed  up  by  such  theatre 
type,  automatic  equipment — is  still 
quicker  than  the  eye — or  ear. 


After  having  showed  us  the  instal- 
lation, and  letting  us  take  pictures  to 
our  heart's  content,  our  anonymous  host 
pleaded  guilty  to  the  charge  of  having 


Close-up  of  amplifier  and  monitoring 
upeaker.  Switch  in  center  of  panel 
directly  above  dials  is  changeover  con- 
trol. At  top  of  picture  will  be  noted  tivo 
of  the  optical  glass  ports  through  which 
16mm.  pictures  are  projected 


built  his  house  around  the  projection 
room.  The  whole  thing  forms  an  in- 
tegral part  of  the  building.  The  posi- 
tions of  the  screen,  speakers,  projectors, 
and  so  on  were  determined  first,  and 
the  room  was  then  arranged  around 
them. 

In  building  the  living  room  the  archi- 
tect called  into  consultation  a  noted 
acoustical  engineer,  who  in  turn  pre- 
scribed special,  soft  acoustic  plaster  for 
the  walls,  so  that  there  is  no  trace  of 
reverberation  or  other  sonic  aberrations 
which  might  distort  the  sound. 

The  conduits  for  power  supply  and 
for  the  wires  that  carry  the  sound  from 
amplifier  to  loudspeakers  were  built  per- 
manently into  the  structure  of  the  build- 
ing. In  a  word,  our  friend  went  about 
things  exactly  as  though  he  were  build- 
ing a  theatre. 

All  told,  here  is  a  home  projection 
room  which  embodies  every  possible  ele- 
ment of  perfection  for  de  luxe  home 
screenings  of  16mm.  or  8mm.  film,  with 
or  without  sound.  Of  course,  not  all 
of  us  are  able  to  follow  this  filmer's 
example  and  build  a  home  around  a 
perfect  projection  room,  but  most  of 
us  certainly  dream  of  someday  doing  so. 

And  how  reassuring  it  is  to  know  that 
such  an  installation  is  actually  prac- 
tical, and  that  someone,  at  least,  has 
been  able  to  bring  the  sub-standard 
home  theatre  into  the  world  of  concrete 
practicality! 


88       American  Cinematographer    •    February,  1938 


CLASSIFIED  ADVERTISING 


Bell  and  Howell  Announcing 
Filmosound  Price  Reduction 

The  Bell  &  Howell  Company  is  now  in 
the  enviable  position  of  being  able  to  an- 
nounce a  substantial  reduction  in  the 
price  of  the  Filmosound  138.  This  16 
mm.  sound-on-film  projector  has  been  so 
popular  with  the  automobile  industry 
and  with  big  business  in  general  that  the 
influx  of  orders  has  permitted  volume 
production  with  its  attendant  reduction 
in  the  cost  of  manufacture.  This  sav- 
ing, in  turn,  is  being  passed  along  to 
the  consumer. 

This  price  reduction  is  the  more  note- 
worthy considering  the  recent  improve- 
ments in  Filmosound  138.  A  clutch  and 
reverse  gear  are  now  provided  for  those 
who  wish  to  project  stills  or  to  empha- 
size by  repeating  certain  sequences. 

The  single  case  projector.  Model  138-F, 
is  the  same  Filmosound  plus  these  new 
features  and  a  host  of  minor  improve- 
ments, and  its  new  price  is  S385.  Fihno- 
sound  138-J  is  the  new  model  in  two 
cases  rather  than  one,  the  projector  be- 
ing entirely  inclosed  by  its  own  silencing 
"blimp"  case.  Selling  at  the  new  low 
price  of  $410,  this  model  is  particularly 
suited  to  conditions  calling  for  a  com- 
pletely silenced  projector. 

New  Univex 
Folding  Camera 

Universal  Camera  Corporation,  New 
York,  makers  of  Univex  photographic 
supplies,  announces  the  introduction  of 
a  camera  to  be  known  as  Univex  Mini- 
cam.  It  is  the  most  expensive  still  cam- 
era ever  marketed  by  this  company  and 
has  many  unique  features.  The  negative 
size  of  the  pictures  this  model  takes 
is  IV2  by  1%  inches,  the  popular  minia- 
ture size.  Excellent  3  by  4  inch  larger 
prints  may  be  secured. 

The  camera  is  of  handy,  streamlined 
design.  A  new  type  Achromar  preci- 
sion lens  is  supplied. 

Japanese  Films  Scenes  by 
Means  of  Ultra- Violet  Ray 

A  talking  picture  device  that  films 
scenes  with  ultra-violet  rays  is  I'eported 
to  have  been  perfected  by  Osamu  Ma- 
buchi,  an  assistant  at  Kyoto  Imperial 
University,  according  to  a  report  attrib- 
uted to  the  Nippon  Kogyo  (Industrial 
News)  by  the  Japan  Advertiser,  Tokyo. 

As  the  rays  cause  no  halation  in  pho- 
tographing, experts  in  many  countries 
have  been  trying  for  a  number  of  years 
to  perfect  such  a  method,  it  is  pointed 
out.  Mr.  Mabuchi  took  two  years  to 
assemble  his  device. 


Jacksonville  Cine  Club 

The  .lacksonville  Cinenjatographers 
Club  held  its  annual  meeting  and  elec- 
tion of  officers  January  12  at  the  Semi- 
nole Hotel,  Jacksonville,  Fla.  Now  offi- 
cers are  Leslie  H.  Sykes,  president;  Dr. 
F.  Gordon  King,  first  vice  president; 
Owens  Perdue,  second  vice  president; 
Mrs.  Nina  Ruth  Bayley,  secretary;  Neil 
Wade  III,  treasurer. 


FOR  SALE 

REBUILT  SILENCED  AND  STANDARD  BELL 
&  HOWKLL  170°  CAMKRAS:  Bell  &  Howell 
sintrle  syrttem,  complete'  ;  rebuilt  B  &  H  sound 
printers  ;  Schusteck  stei)  printers  ;  rebuilt  Duplex 
sound  and  picture  printers;  2(10  ft.  Stinemann 
dovelopinK  reels;  complete  portable  laboratory: 
u-ied  measurinK  machines.  Used  Mitchell  cam- 
eras. Fearless  Blimps,  complete  Akeley  camera 
(Miuipmenl.  Akeley  1000-ft.  maiiazine".  .syn- 
chronous camera  motors.  Bell  &  Howell  1000 
ft..  100  ft.  magazines.  Motors,  sunshades, 
finders,  lenses  ;ind  all  accessories. 

Write,  wire  or  cable: 

MOTION    PICTURE    CAMERA    SUPPLY,  INC. 

723  Seventh  Avenue  New  York  City 

Cable :  Cinecamera 

BELL  &  HOWELL  5-WAY  SOUND  PRINTER. 
Generators.  Panel  Control  Boards.  Duplex  Print- 
ers, Sound  Moviolas.  Developing  Machines, 
Blimps,  Dolly,  B  &  H  splicers,  Mitchell  and 
B  &  H  Silent  Cameras,  Motors,  Hiirh-Speed 
Gear  Boxes,  Litfht  Testers.  Projection  and  LiKht- 
in(r  E(|iiipment.  Guaranteed  optically  and  me- 
chanically perfect.  Send  for  1937  Bargain 
CataloBue.  Hollywood  Camera  Exchanee.  1600 
CahuenKa  Blvd.,  Hollywood,  California.  Cable 
Hocamex. 


DEBRIE  CAMERA,  Parvo.  8  magazines,  tripod 
and  cases,  $1200.00  cost,  will  sell  for  $200.00 
almost  new.  bargains  in  16-3.'>mra  cameras.  We 
Buy  Anything.  Block  Camera — 154  E.  47th  St.. 
New  York. 


WE  BUY,  SELL  AND  RENT  PROFESSIONAL. 
AND  16  mm  EQUIPMENT  NEW  AND  USED. 
WE  ARE  DISTRIBUTORS  FOR  ALL  LEAD- 
ING MANUFACTURERS.  RUBY  CAMERA 
EXCHANGE,  729  Seventh  Ave.,  New  York  City. 
Established  since  1910. 


16  AND  35mm.  EQUIPMENT  FOR  SALE  AND 
rent.  Mitchell,  Bell  &  Howell.  Akeley,  Debrie. 
Eyemo.  Cash  for  your  used  equipment. 
CAMERA-MART,  INC.,  110  West  40th  Street.. 
New  York  City. 


The  club  meets  every  other  Wednesday 
evening  at  the  Seminole  Hotel  at  8  P.M. 
The  purpose  of  the  club  is  to  foster  and 
promote  interest  in  the  use  of  amateur 
motion  picture  equipment  and  to  instruct 
in  the  proper  use  and  technique  in  the 
handling  of  it. 

As  the  first  activity  of  the  new  year 
the  club  visited  St.  Augustine,  Florida, 
in  a  body  for  the  purpose  of  photograph- 
ing points  of  interest.  This  is  part  of 
the  club  program  for  actual  demonstra- 
tion and  instruction  in  the  use  of  equip- 
ment of  all  kinds. 

Scenes  taken  will  be  used  in  a  joint 
film  by  the  members  and  become  the 
property  of  the  club,  to  be  entered  in 
competition  with  other  clubs  throughout 
the  country. 


An  Added  Word 
and  a  Renewal 

May  I  add  a  word  of  praise  for 
the  American  Cinematographer.  I 
enjoy  and  look  forward  to  every 
issue. 

WILLIAM  P.  SCHEFFLER. 
Reading,  Pa. 


BELL  AND  HOWELL  170°  CAMERAS— Hiijh 
speed  shuttles — hi^h  speed  Kear  boxes — 400  and 
1000  foot  Bell  &  Howell  magazines  Bell  & 
Howell  tripods— motors.  AKELEY  and  DEBRIE 
CAMERAS.  Akeley  motors.  Hitch  speed  mo- 
tors.   Sunshades,  lenses  and  finders. 

Write  or  Wire 
CAMERA  EQUIPMENT,  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 


BRAND  NEW  DEBRIE  PARVO  L  CAMERA 
Universal  tripod,  lenses  and  cases.  SliKhtly 
shopworn.  List  $3000.  Bargain  at  $2000.  Box 
975,   American  Cinematographer. 


BELL  &  HOWELL  CAMERA.  170'  shutter. 
40,  50.  75mm  and  6  in.  lenses,  4-400  ft.  maif- 
azines.  Mitchell  tripod  and  legs.  Everything 
in  first-class  condition.  $750.  J.  ROSE,  1165 
No.  Berendo  St.,  Hollywood,  Calif.  MO-17145. 


DE  BRIE.  MODEL  E.  12  VOLT  MOTOR  DRIVE. 
Standard  Ake!ey  Tripod,  Cases.  DeBrie  Model 
H  (Metal  Casei  Precision  Tripod,  Cases,  etc. 
P.  O.  Box  1457.  Tampa,  Fla. 


WANTED 


WE  PAY  CASH  FOR  YOUR  USED  CAMERA, 
LABORATORY     AND     STUDIO  EQUIPMENT. 

Write,  wire  or  cable 
MOTION    PICTURE   CAMERA   SUPPLY,  INC. 
723  Seventh  Avenue.  New  York  City 


WANTED :  We  pay  cash  for  everything  photo- 
graphic. Send  full  information  and  lowest  cash 
prices.  HOLLYWOOD  CAMERA  EXCHANGE. 
1600  Cahuenga  Blvd..  Hollywood.  Calif. 


9'oM.M  (PATHEXi  NEW  OR  USED  EXHIBI- 
tion  films,  empty  spools,  accessories,  etc. 
Highest  prices  paid  for  original  9iimm  nega- 
tives, scenics,  travel,  scientific,  comedy,  car- 
toons, curiosities,  oddities,  news,  etc.,  long  or 
short,  complete  or  not.  M.  H.  SCHOENBAUM. 
Headquarters  for  9Vamm  Movies,  Plainfield, 
New  Jersey,  U.  S.  A. 


Moviemakers  of  Alhambra 

The  amateur  movie  enthusiasts  in  Al- 
hambra, Calif,  have  recently  banded  to- 
gether and  foiTned  the  La  Casa  Movie- 
makers of  Alhambra.  The  first  meeting 
was  held  in  November  and  the  following 
officers  were  elected  for  1938 :  Richard 
F.  Oden,  president,  and  H.  P.  Carnahan, 
secretary-treasurer. 

The  club  meets  the  third  Monday  of 
each  month  for  dinner  and  meeting  at 
the  Elks  Temple  in  Alhambra.  At  pres- 
ent there  are  forty-six  members.  Dues 
are  set  at  .$2  a  year.  A  monthly  news- 
paper is  called  the  News  Reel. 

An  uncut  film  contest  will  feature  the 
March  meeting.  T.  Q.  Hall  will  present 
his  travel  films  at  the  February  meeting. 
All  movie  enthusiasts  are  invited  to  join. 

R.  F.  ODEN,  President 
320  Fairview  Ave.,  South  Pasadena,  Calif. 


Reversible  Dupes  Available 

Duplicates  on  reversible  16mm  film  in 
any  lengih  are  available  from  the  Agfa 
Ansco  Laboratory,  24.5  West  55th  street, 
New  York.  Special  equipment  insures 
prints  of  continuous  length  and  uniform 
quality  throughout. 


The  Universal  Camera  Corporation 
announces  in  response  to  the  demand 
for  panchromatic  film  by  users  of  low- 
priced  cameras  it  has  decided  to  bring 
out  a  film  meeting  the  requirements  of 
pan  color  and  sensitivity,  fine  grain  and 
speed. 


J.  p.  J.  Chapman 

THE  HUON 


Branksome  Hill  Road 
Bournemouth 
(England) 


13th  January  1938 

American  Cinematographer , 
Hollywood,  Calif.,  U.  S.  A. 

Dear  Sirs: 

I  like  your  paper.     It  never  fails  to  interest. 
It  is  always  accurate,  and  full  of  valuable 
information. 

Yours  faithfully, 

J.  P.  J.  CHAPMAN, 

A.  R.  P.  S. 


Across  six  thousand  miles  come  a  subscription 

renewal  and  the  foregoing  words. 

Those  who  make  The  American  Cinematographer 

beg   to   acknowledge   Mr,    Chapman's  kindly 

message  and  with  their  hearty  good  wishes  return 

to  him  a  pledge: 

An  endeavor  to  make  it  better 

Perfection  in  Motion 
Picture  Cameras 


or 


MITCHELL 

Both  Mean  the 
Same  Thing 


Mitchell  Camera  Corporation 

665   NORTH   ROBERTSON  BOULEVARD 
WEST  HOLLYWOOD.  CALIF. 

Cable  Address  "MITCAMCO"  Phone  OXford  1051 

AGENCIES 

BELL  &  HOWELL  CO.,  LTD.,  London,  England  MOTION  PICTURE  CAMERA  SUPPLY,  INC.,  New  York  City 

CLAUD  C.  CARTER,  Sydney,  Australia  BOMBAY  RADIO  CO.,  LTD.,  Bombay,  India 

D.  NAGASE  &  CO.,  LTD.,  Osaka,  Japan  H.  NASSIBIAN,  Cairo,  Egypi 


"^That  quality  of  a  photographic 
emulsion  which  enables  beauti- 
ful results  over  a  wide  range  of 
exposures  is  an  outstanding 
feature  of  Du  Pont  Superior  Pan. 

^  For  better  pictures  in  your 
next  production  use  Du  Pont. 


Du  Pont  Film  Manufacturing  Corporation 

INCORPORATED 

9  Rockefeller  Plaza  SMITH  &  ALLER,  LTD. 

New  York.  .  .  .  N.  Y.  6656  Santa  Monica  Blvd. 

Plant  .  .  Parlin,  N.  J.  Hollywood  .  .  .  California 


BETTER  THJNQS  for  BETTER  LJVINQ  through  CHEMISTRY 


March,  1938    •    American  Cinematographer  89 


MASTER  OF  EMERGENCIES 


NEVER  before  has  there  been  a 
camera  with  the  versatility  of  the 
new  Eyemo!  Today  this  already  superb 
3  5  mm.  movie  camera  is  even  finer — 
ready  in  an  instant  to  cope  success- 
fully with  emergencies  and  special 
assignments  both  in  studio  and  afield. 

What  will  you  have.'  A  swift  shift  of 
lenses?  .  .  .  conversion  from  100-foot 
film  capacity  to  200-  or  400-foot 
magazines.'  ...  a  tripod  mount  or  a 
light,  easy-to-handle  hand  camera.'  .  .  . 
a  change  from  electric  to  spring  or 
hand  drive  when  convenience  dic- 


tates? ...  a  silent  camera  or  a  hookup 
for  sound?  .  .  .  slow  motion  or  silent 
or  sound  speeds?  Whatever  the  de- 
mand, the  new  Eyemo  is  there  to 
meet  it. 

The  new  Eyemo  is  made  with  typical 
Bell  &  Howell  precision  and  yet  with 
a  sturdiness  that  gives  it  unmatched 
dependability  in  the  strenuous  work 
for  which  it  is  designed.  Such  features 
as  three-lens  turret,  focusing  and  dia- 
phragm controls  visible  through  the 
spyglass  viewfinder,  interchange- 
ability  of  motors,  standard  S.  M.  P.  E. 


sound  aperture,  and  vibrationless  gov- 
ernor assuring  accurate  speeds  make 
the  new  Eyemo  distinctively  superior 
in  the  field  of  portable  cameras — an 
instrument  of  unexcelled  performance. 

Write  for  literature  describing  the 
new  Eyemo  in  detail — it  will  be  mailed 
without  obligation. 

BELL  &  HOWELL  COMPANY 

1848  Larchmont  Avenue  •  Chicago 

New  York:  11  W.  42d  St.  •  Hollywood:  716  N. 
La  Breo  Ave.  •  London:  13-14  Great  Castle  St. 

Established  1901 


BELL  &  HOWELL 


I 


90     American  CiNEMATOGiurHER    •    March,  1938 


AMERICAN 
CINEMATOGRAPHER 


A  Technical  and  Educational  publication 
on  motion  picture  photography. 

Published  monthly  by  the 

AMERICAN  SOCIETY 

OF  CINEMATOGRAPHERS,  INC. 

1782  North  Oranijp  Drive 
Hollywood  (Los  AnReles),  California 

Telephone  GRanite  2135 

VICTOR  MILNER.  President. 
FRED  W.  .lACKMAN,  Treasurer. 


Vol.  19 


March,  1938 


No.  3 


Contents 

Frontispiece   91 

Karl    Freund    awarded  photographic 
honors  by  Academy  92 

Milner  makes  reply  to  Lubitsch  as  to 

Realism    94 

By  Victor  Milner,  A.S.C. 

Fred  Gage  creates  great  laboratory  at 

Warners'    96 

By  William  Stull,  A.S.C. 

Working  in  air  by  radiophone  thrills 

Dyer    98 

By  George  Blaisdell 

What  About  Me?  100 

By  Bee  Gee,  A.S.C. 

Camera  script  clerk  experiment  at  MGM 

a  success  102 

By  William  H.  Daniels,  A.S.C. 

Vallee,  Bergen  and  Yacht  Club  Boys 
entertain  at  A.S.C.  home  107 


The  Front  Cover 

The  scene  depicted  on  the  cover 
is  from  Goldwyn's  adaptation  of 
the  thirteenth  century  romance  of 
"The  Adventures  of  Marco  Polo." 
Gary  Cooper  is  shown  in  the  title 
part.  Marco  is  in  the  garden  of 
Kublai  Khan  and  very  much  inter- 
ested in  the  daughter  of  that  poten- 
tate. Sigrid  Gurie  is  the  daughter. 
Rudolph  Mate  directs  photography 
on  the  pretentious  subject.  This 
still  came  from  under  the  hand  of 
Coburn. 


The  Staff 


EDITOR 

George  Blaisdell 

WASHINGTON 
STAFF  CORRESPONDENT 
Reed  N.  Haythorne,  A.  S.  C. 

TECHNICAL  EDITOR 
Emery  Huse,  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 

Victor  Milner,  A.  S.  C. 
James  Van  Trees.  A.  S.  C. 
Fred  W.  Jackman,  A.  S.  C. 
Farciot  Edouart,  A.  S.  C. 
Fred  Gage,  A.  S.  C. 
Dr.  J.  S.  Watson,  A.  S.  C. 
Dr.  L.  A.  Jones,  A.  S.  C. 
Dr.  C.  E.  K.  Meea,  A.  S.  C. 
Dr.  W.  B.  Rayton,  A.  S.  C. 
Dr.  Herbert  Meyer,  A.  S.  C. 
Dr.  V.  B.  Sease,  A.  S.  C. 

CIRCULATION  MANAGER 
L.  F.  Graham 

NEW  YORK  REPRESENTATIVE 

S.  R.  Cowan,  19  East  47th  St.,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 

Georges  Benoit,  100  AUee  Franklin, 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 

AUSTRALIAN  REPRESENTATIVE 

McGill's,  179  Elizabeth  Street,  Melbourne. 
Australian  and  New  Zealand  agents. 

Neither  the  American  Onematographer  nor 
the  American  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. This  magazine  will  not  be  respon- 
sible for  unsolicited  manuscripts. 


ESTABLISHED  1920.  Advertiaint;  Rates  on  application.  Subscription:  United  States,  $2.50  a  year;  Canada  and  the  Pan-American  Union.  $2.50  a  year: 
ForfciKn,  $3.50  a  year.  SinKle  copies,  25  cents;  back  numbers,  30  cents;  foreign,  single  copies,  35  cents;  back  numbers,  40  cents.  COPYRIGHT  1938  by 
American  Society  of  Cinematographer.s,  Inc. 


Entered  as  second  clars  matter  November  18,  1937,  at  the  post  office  at  Los  Angeles,  California,  under  the  Act  of  March  3,  1879. 


March,  1938    •    American  Cinematographer  91 


Karl  Freund,  A.  S.  C,  awarded  photographic  honors  hy  the  Motion  Picture  Academy — Still  photo  by  Freulich 


'J2     American  Cinematographer    •    March,  1938 


Freund  JVins  Academy  Honors 


KARL  FREUND  for  his  work  in 
MGM's  "The  Good  Earth"  has  been 
awarded  photographic  honors  for 
1937  by  the  Academy  of  Motion  Picture 
Arts  and  Sciences.  Again  the  coveted 
statuette  goes  to  a  veteran  of  the 
caniei-a,  a  pioneer  of  the  lens  in  the 
truest  sense,  one  who  has  dared  to  do 
things  that  were  not  in  the  book — and 
who  because  of  them  attracted  worldwide 
attention;  not  posthumously,  it  is  worth- 
while recording,  but  simultaneously  with 
the  appearance  on  the  screen  of  these 
innovations,  of  these  striking  demonstra- 
tions of  his  creative  genius. 

"Creative"  is  a  word  that  in  all  truth 
may  be  applied  to  Karl  Freund.  For  in 
his  contributions  to  the  industry's  prog- 
ress he  has  been  more  than  a  great 
cameraman.  He  has  been  a  writer  and 
a  director,  in  both  capacities  in  Europe 
and  in  the  latter  in  the  United  States. 

It  was  at  the  break  of  1925  that  Freund 
first  attracted  wide  attention  in  the 
United  States  with  Ufa's  "The  Last 
Laugh,"  starring  one  of  the  screen's 
greatest  actors,  Emil  Jannings — Brook- 
lyn born  and  German  reared. 

Here  was  something  apparently  new. 
In  New  York  this  writer  well  recalls,  it 
was  a  sensation  among  the  workers  in 
the  film  industry — cameramen,  producers, 
distributors,  exhibitors,  reviewers. 


In  a  major  way  the  camera  was  mobile. 
No  longer  was  it  anchored  to  a  tripod. 
Not  only  did  it  record  moving  things.  It 
was  animate.  It  moved  over  the  ground. 
It  did  what  is  done  by  means  of  the 
dolly  today.  At  one  time  the  camera, 
motivated  by  a  motor  remotely  con- 
trolled, was  strapped  to  Freund's  shoul- 
ders and  borne  on  his  breast.  At  another 
it  was  strapped  to  a  bicycle,  sujjported 
and  propelled  by  assistants  and  accom- 
panied by  electricians  operating  a  power- 
ful lamp. 

The  camera  swooped  at  a  slight  angle 
off  the  perpendicular  from  the  top  of  a 
five-story  building  right  to  the  ground. 


Other  Awards 

THE  Academy  awards  for 
scientific  or  technical  as  well 
as  other  achievement  for  1937  will 
be  found  on  Page  120  of  this  issue. 


lecording  on  film  all  its  eye  surveyed. 
It  stopped  on  the  way  in  front  of  a 
trumpeter  in  action  standing  on  the  side- 
walk and  peered  into  the  instrument. 
It  was  like  the  sweep  of  a  crane  that  for 
size  is  vet  to  be. 


And  speaking  of  cranes  there  is  in 
existence  the  picture  of  an  enormous 
jackknifed  mass  of  bridgework  that  truly 
enough  was  the  forerunner  of  the  crane 
of  today. 

The  reaction  in  Hollywood  from  "The 
Last  Laugh"  was  immediate.  Wires  and 
letters  poured  in  on  the  cameraman.  It 
seems  that  following  the  first  showing  of 
the  picture  at  the  Filmarte  there  had 
been  a  midnight  matinee  for  the  trade 
— for  cameramen  and  studio  executives 
and  exhibitors.  The  name  of  Freund  was 
established  in  the  Hollywood  con- 
sciousness. 

Following  "The  Last  Laugh"  and  in 
rising  attention  compelling  sequence 
came  "Variety,"  "Metropolis"  and  "The 
Golem." 

In  "Berlin:  Symphony  of  a  City"  the 
cameraman  previously  personally  had 
sensitized  fast  film  and  exposed  it  on 
"night"  shots — and  without  boosters  or 
other  unusual  light  had  secured  weird 
effects.  After  the  film  had  been  shown 
in  the  United  States  Freund  was  called 
by  telephone  one  night  by  the  Amer- 
ican consulate  and  informed  a  wire  had 
been  received  from  one  of  the  raw  stock 
companies  expressing  a  desire  to  buy  the 
patent  on  the  fast  film  he  had  employed. 

The  cameraman,  however,  paid  no  par- 
{ Continued  on  Page  132) 


Scene 
fro7n 
"The 
Good 
Eartli," 
M-G-M. 
Photographed 
by 
Karl 
Freund, 
A.S.  C. 

Still,  by 
Frank 
Tanner 


March,  1938    •    American  Cinematographer  93 


UNHEARD-OF  SPEED 
...AT  NO  SACRIFICE! 


YOU  know  that  Agfa's  two 
new  35  mm.  negatives  — 
Supreme  and  Ultra  -  Speed 
Panchromatic  —  are  the 
fastest  films  ever  produced. 

But  do  you  know  that  this 
almost  unbelievable  speed 
has  been  obtained  without 
sacrifice  of  other  important 
qualities .'' 

That's  the  REAL  news! 

Sounds  unbelievable.''  Well 
.  .  .  listen  to  this!  Supreme, 
which  is  twice  as  fast  as 
Superpan,  is  even  better  in 
grain  size,  color  balance  and 
gradation! 


Another  advantage  ...  its  in- 
creased speed  permits  stop- 
ping down  to  obtain  more 
focal  depth,  thus  greatly  in- 
creasing the  scope  of  the  film . 

And  Agfa  Ultra-Speed  is  three 
times  as  fast  2LS  Superpan.  Con- 
sequently it  is  being  widely 
used  wherever  extreme  speed 
is  of  paramount  importance. 

Try  them  both  . . .  now  ! 

Agfa  Supreme  and  Agfa 
Ultra  -  Speed  Panchromatic 
35  mm.  films  are  available 
today.  Made  by  Agfa  Ansco 
Corporation  in  Bingham- 
ton.  New  York. 


C.  KING  CHARNEY, 


Incorporated 


HOLLYWOOD 

6424  Santa  Monica  Blvd. 
TEL.  Hollywood  2918 


NEW  YORK 

245  West  5  5th  St. 
TEL.  Circle  7-4635 


94     American  Cinematographer    •    March,  1938 


VICTOR  MILNER 
MAKES  REPLY  TO 
ERNST  LUBITSGH 
AS  TO  REALISM 

Veteran  Cinematographer 
Concedes  Value  of  Brutal 
Frankness  in  Europe-Made 
Films  but  Points  Out  Why 

in  Justice  to  Employers 
American  Cameramasters 
Usually  Must  Heed  Things 
Esthetic  and  Not  Realistic 

By  VICTOR  MILNER 

President  American  Society  of  Cinematographers 


MY  friend  Director  Ernst  Lu- 
bitsch,  in  an  interview  which 
appeared  in  the  February  issue 
of  The  American  Cinematographer,  in- 
dulged in  some  highly  interesting  com- 
ments on  the  subject  of  cinematic  real- 
ism. In  his  enthusiasm,  however,  Mr. 
Lubitsch  unfortunately  presented  but 
one  side  of  the  picture.  His  discussion 
of  the  subject  appeared  to  be  more  from 
the  viewpoint  of  the  student  of  pure 
cinematic  art  than  from  that  of  the  ex- 
perienced film  craftsman. 

In  so  doing  he  overlooked  a  fact  of 
which  he,  as  a  director  and  producer  of 
long  standing,  should  be  abundantly 
aware:  that  in  cinematography,  as  in 
direction,  there  are  practical  considera- 
tions which  always  influence  and  often 
control  the  treatment  of  esthetic  mat- 
ters. 

Since  he  presented  but  one  side  of  the 
matter,  it  is  necessary  that  some  mem- 
ber of  the  cinematographic  profession 
complete  the  picture  by  adding  a  discus- 
sion of  the  more  practical  considerations 
involved  in  achieving  cinematographic 
realism. 

In  all  fairness  to  Mr.  Lubitsch  one 
should  begin  by  admitting  that  Ameri- 
can camerawork  as  a  whole  is  not  char- 
acterized by  the  almost  brutally  real- 
istic technique  which  he  so  admired  in 
the  two  French  pictures  he  mentioned, 
"La  Grande  Illusion"  and  "Pepe  le 
Moko,"  and  which  has  been  seen  as  well 
in  many  Russian,  German  and  other 
European  productions.  There  are  a  num- 
ber of  obvious  reasons  why  this  is  so. 

Few  Foreign  Films  Here 

Perhaps  the  first  of  these  must  be  the 
extremely  limited  proportion  of  Europe's 
total  production  shown  in  America.  It 
would  probably  be  too  optimistic  to  es- 
timate that  as  much  as  4  per  cent  of 
Europe's  annual  production  ever  reaches 
American  screens. 

If  the  situation  were  reversed  we 
would  certainly  not  expect  to  send 
abroad  any  of  our  films  save  those 
which  would  create  the  most  favorable 
impression.  If  our  own  "prestige  pic- 
tures" were  thus  segregated  it  is  almost 
certain  that  the  majority  would  be  of 
a  heavier,  more  dramatic  type,  such  as 
"Fury,"  "The  Life  of  Emile  Zola,"  "The 
Good  Earth"  or  "The  Informer." 

Geographic  Psychology 

All  of  these  films  off'er  the  cinematog- 
rapher opportunities  for  striking  dra- 
matic— often  realistic — cinematography, 
as  Joseph  Ruttenberg,  A.S.C.;  Gaetano 
Gaudio,  A.S.C.;  Karl  Freund,  A.S.C.; 
and  Jo.seph  August,  A.S.C.,  amply 
proved  in  the  productions  named. 

Such  opportunities  do  not  come  often 
in  the  course  of  routine  production,  but 
we  have  tangible  proof  that  when  op- 
portunities for  outstanding  camerawork 
are  offered  our  American  cinematog- 
raphers can  and  do  take  full  advantage 
of  them. 

The  influence  of  what  might  be 
termed  "geographic  psychology"  must 
also  be  considered  in  this  connection. 
The  European  producer  and  his  staff 
make  their  films  primarily  to  suit  the 


taste  of  their  nationals.  The  Amer- 
ican producer  makes  his  films  essentially 
for  the  American  audience  and  for  the 
worldwide  audience  as  well. 

Without  entering  into  the  fruitless  de- 
bate as  to  which  of  these  represents  the 
higher  degree  of  appreciation,  it  must 
be  realized  that  the  two  represent  fun- 
damentally different  approaches  to  the- 
atre-going. 

The  American  goes  to  the  movies  to 
be  entertained:  especially  to  laugh  or 
thrill  to  light  romance.  The  European 
goes  to  his  "kinos"  in  search  of  enter- 
tainment in  a  much  more  heavily  emo- 
tional sense. 

To  put  it  succinctly,  one  goes  to  see 
Charlie  Chaplin  because  he  is  the 
world's  greatest  comedian;  the  other, 
because  underneath  the  comedy  Chap- 
lin is  also  a  great  tragedian,  with  a 
whisper  of  social  significance  in  many  of 
his  scenes. 

The  choice  of  stories  for  these  two 
groups  must  inevitably  be  basically  dif- 
ferent. One  prefers  meringue;  the 
other,  stark,  red  meat.  And  the  choice 
of  stories  must  with  equal  inevitability 
dictate  the  style  of  camerawork  to  be 
used  in  bringing  them  to  the  screen. 

Cinematographer's  Responsibilities 

The  type  of  camera  treatment  which 
made  "La  Grande  Illusion"  and  "Pepe  le 
Moko"  great  pictures  in  Mr.  Lubitsch's 
estimation  would  have  condemned  his 
own  hit,  "The  Love  Parade,"  to  failure. 

There  is  yet  another  factor  which  Di- 
lector  Lubitsch   ignored.     This  is  the 


cinematographer's  duty  to  the  players 
and  to  his  employer. 

It  is  a  fact  that  a  popular  star  is  not 
merely  a  human  being  or  a  fine  actor 
or  actress.  Such  a  star  also  represents 
a  tremendous  financial  investment  on 
the  part  of  the  producer  or  his  studio. 
That  investment  must  be  protected. 

With  very  few  exceptions  that  invest- 
ment simmers  down  to  two  essentially 
visual  qualities:  youth  and  beauty.  The 
producer  has  probably  begun  by  select- 
ing a  young  player  who  in  addition  to 
actual  or  potential  talent  possesses  those 
qualities  of  youth  and  beauty  to  a  high 
degree. 

He  has  then  spent  tremendous  sums  in 
educating  that  player  in  dramatics, 
singing,  dancing  and  many  other  neces- 
sary matters — including  in  many  in- 
stances teaching  her  the  English  lan- 
guage or  eradicating  a  foreign  or  local 
accent. 

Further,  he  has  spent  far  greater 
sums  making  that  player  known  to  the 
filmgoing  public  of  the  world.  He  has 
built  that  player  up  in  hand-picked 
parts  in  outstanding  productions  until 
she  (or  he)  is  sufficiently  popular  with 
the  public  to  merit  stardom. 

Thereafter,  each  succeeding  stellar 
production  is  not  alone  a  six  or  seven 
figure  investment  in  its  own  right,  but 
in  the  qualities  which  have  made  that 
star  a  public  favorite — predominantly 
the  visual  qualities  of  youth  and  beauty. 
This  cumulative  investment  speedily 
reaches  an  incredible  total. 

When  a  picture  is  in  pi'oduction,  the 


March,  1938    •    American  Cinematographer  95 


Victor  Milner,  President,  A.S.C. 


terrific  responsibility  of  safeguarding 
the  fundamental  visual  attractiveness 
underlying  this  great  investment  is  in- 
trusted solely  to  the  cinematographer. 

Perhaps  it  is  unjust,  but  when  a  pop- 
ular artist  looks  less  attractive  on  the 
screen  than  previous  appearances  indi- 
cate she  should,  the  public  is  more  ready 
to  blame  the  player  than  the  cinematog- 
rapher. 

In  other  words,  to  safeguard  his  em- 
ployer's investment,  the  man  at  the 
camera  must  constantly  bend  every  ef- 
fort to  make  his  star  appear  as  youth- 
ful and  lovely  as  she  did  in  her  first 
production.  It  may  not  matter  how 
many  years  have  flown  by  since  that  film 
was  produced,  nor  how  careless  the  star 
may  have  been  of  her  endowment  of  at- 
tractiveness: the  cinematographer  must, 
for  the  moment  at  least,  halt  the  advance 
of  time. 

Must  Idealize  Stars 

In  addition  to  this,  very  many  stars 
add  to  the  cinematographer's  problems 
by  insisting  that  he  make  their  screened 
images  conform  to  the  star's  personal 
conception  of  what  she  (or  he)  ought  to 
look  like. 


To  do  this  the  cinematographer  must 
often  resort  to  incredible  artifices  to 
idealize  his  players.  He  must  often  sub- 
ordinate his  own  concepts  of  how  a 
scene  should  be  photographed  to  the 
necessity  for  making  a  star  who  is  actu- 
ally thirty  years  old,  and  may  at  the 
moment  look  forty,  appear  on  the  screen 
a  glowing  twenty.  Such  a  situation — 
and  they  are  and  always  have  been 
much  too  common — is  no  time  for  the 
brutal  frankness  of  realistic  camera- 
work ! 

Yet  another  factor  is  the  time  ele- 
ment. During  recent  years  the  costs 
of  production  have  skyrocketed  dizzily. 
Everything  involved,  from  the  prices 
paid  for  stories  through  all  the  pre-pro- 
duction costs  to  the  salaries  of  stars  and 
directors  have  mounted  to  incredible 
heights. 

When  the  film  is  actually  in  produc- 
tion, Lewis  Carroll's  once  ludicrous 
phrase  that  ".  .  .  time  is  worth  a  thou- 
sand pounds  a  minute"  can  become  cold, 
hard  actuality.  (This,  by  the  way,  sel- 
dom applies  in  Europe,  where  all  sal- 
aries and  other  costs  are  lower.) 

Strangely,  in   most  instances  studio 


personnel  seems  to  figure  the  only  way 
to  save  those  valuable  minutes  and  sec- 
onds is  to  speed  up  the  lighting  and 
photographing  of  each  scene. 

In  every  studio,  the  cry,  "Hurry — 
hurry — HURRY!"  rings  constantly  in 
the  cinematographer's  ears.  Hurry  he 
does — and  experience  has  taught  him 
that  often  fittingly  realistic  treatment 
involves  more  time  and  may  bring  of- 
ficial displeasure  and  expensive  retakes. 
Moving  Camera  Problems 

The  craze  for  moving-camera  tech- 
nique, especially  when  coupled  with  this 
economic  pressure,  is  scarcely  favorable 
for  realistic  camera  treatment.  Lighting 
or  composition  which  would  give  a  de- 
sirably realistic  effect  with  the  camera 
stationary  in  one  position  may  easily 
become  a  damning  fault  from  another 
angle,  when  the  camera,  on  dolly  or 
crane,  is  poking  its  lens  into  every  cor- 
ner of  the  set  like  a  homeless  ghost. 
Again  conservative  camerawork  be- 
comes mandatory. 

Furthermore,  dramatic  cinematog- 
raphy— especially  if  the  treatment  is  to 
be  anything  other  than  the  purely  con- 
ventional—requires painstaking  cooper- 
ation before  production  starts  between 
the  cinematogi'apher,  the  director,  the 
art  director,  and  preferably  the  writer 
and  producer  as  well.  This,  for  various 
reasons,  almost  never  happens. 

I  have  filmed  scores  of  productions — 
important  and  otherwise — but  in  only 
one  of  them  has  such  an  ideal  state  of 
pre-production  planning  been  realized. 
This  was  in  the  making  of  "The  Gen- 
eral Died  At  Dawn,"  in  which  I  was 
immensely  favored  by  being  able  to 
work  with  two  exceptional  artists — Di- 
rector Lewis  Milestone  and  Writer  Clif- 
ford Odets — who  worked  with  me  be- 
forehand, carefully  planning  direction 
and  dialog  for  the  camera,  and  striving 
at  every  turn  to  inject  visual  mood  into 
the  scenes.  But  this  was  an  exception: 
one  production  in  a  hundred. 

Individual  Psychology 

Finally  there  is  the  matter  of  purely 
individual  psychology.  I  have  known 
many  directors  who  have  praised  un- 
usual photographic  effects  seen  in  other 
films.  But  when  I  have  tried  to  incor- 
porate similar  effects  in  films  I  have 
photographed  for  them,  these  same  di- 
rectors have  been  the  first  —  and  the 
most  vociferous  —  in  resenting  any 
change  from  standard  "Hollywood  cam- 
erawork." 

Some  of  these  experiments  have  been 
made  in  films  photographed  for  my  close 
friend  Director  Lubitsch.  The  retakes 
of  such  experiments  almost  never  run 
to  realistic  camerawork. 

Thus  the  true  answer  to  Mr.  Lu- 
bitsch's  query  as  to  whether  or  not 
American  cinematographers  can  wield 
their  cameras  in  a  realistic  mood  is  that 
they  can.  Such  films  as  "Fury,"  "The 
Informer,"  "Dead  End,"  "The  Life  of 
Emile  Zola"  and  "The  Good  Earth" 
prove  it.  But  while  it  is  true  that 
American  cinematographers  can  be  ideal- 
istic, too  often  circumstances  beyond 
their  conti'ol  dictate  that  they  may  not. 


96     American  Cinematographer    •    March,  1938 


Fred  Gage  Creates  Great  Lab 
at  JV arners '  Biirbank  Studio 


THE  newest  and  most  modern  film 
laboratory  in  the  motion  picture 
industry  has  just  swung  into  pro- 
duction at  the  Warner  Brothers'-First 
National  Studio.  Planned  under  the  su- 
pervision of  Fred  Gage,  A.S.C.,  the  stu- 
dio's laboratory  chief,  the  new  plant 
represents  an  investment  of  half  a  mil- 
lion dollars  and  has  been  designed  to 
allow  for  expansion  to  meet  any  future 
contingencies  as  well  as  today's  needs. 

The  building  itself,  which  covers  a 
ground  area  of  19,000  square  feet,  is  of 
the  most  modern  Class  A  fireproof  con- 
crete construction  and  consists  of  two 
stories  and  basement.  It  is  of  course 
air-conditioned  throughout,  and  great 
pains  have  been  taken  to  assure  a  dust- 
less  atmosphere. 

The  ventilating  air,  for  instance,  is 
drawn  from  intakes  high  on  the  roof,  and 
filtered  three  times  —  first  through  an 
oil  soaked  filter,  second  through  a  blown 
glass  filter,  and  finally  through  an  ab- 
sorbent paper  filter — before  being  con- 
ditioned for  temperature  and  humidity 
and  being  circulated  through  the  build- 
ing. 

Windows,  ordinarily  a  potential  point 
of  entrance  for  dust-laden  outside  air, 
are  eliminated  in  this  building,  their 
place  being  taken  in  all  the  daylit  rooms 
by  a  broad  bana  of  glass  tile  built  as  an 
integral  part  of  the  wall. 

Machinery  Duplicated 

Every  important  unit  in  the  plant's 
machinery  is  in  duplicate,  with  provisions 
for  automatic  changeover  against  any 
failure.  In  the  event,  for  instance,  of 
failure  of  the  outside  power  source,  an 
emergency  generating  plant,  powered  by 
a  standard  Ford  V-8  automobile  engine, 
is  available. 

Failure  of  the  main  power  supply  auto- 
matically will  start  this  auxiliary  gen- 
erator, which  comes  up  to  power-produc- 
ing speed  within  less  than  three  seconds. 
In  the  unlikely  event  of  failure  of  this 
unit  a  duplicate  unit  is  provided. 

Similarly,  the  double  heating  unit  pro- 
vides for  an  automatic  and  rapid  cjiange 
from  gas  to  oil;  in  addition  to  the  regu- 
lar water  supply  from  the  city  mains  an 
adequate  well  had  been  drilled  on  the 
laboratory  premises.  The  compressors 
of  the  cooling  and  heat-exchanging  sys- 
tems are  likewise  duplicated  in  multiple 
units. 

The  developing  machines  have  been 
planned  with  a  similar  eye  toward  the 
safety  factor.  Each  machine  is  of  the 
two-strand  type  and  built  in  two  semi- 


By  WILLIAM  STULL,  A.S.C. 


independent  units;  the  developing  and 
fixing  section  being  contained  in  the  dark 
room,  and  the  semi-independent  washing 
and  drying  unit  in  an  adjoining,  white- 
. i"ht-illuminated  room. 

Provision  is  made  so  that  in  the  event 
of  failure  of  any  one  unit  the  film  may 
quickly  be  strung  to  any  adjoining  unit 
without  interrupting  the  process. 

The  developing  machines  themselves 
were  designed  and  built  in  the  studio's 
precision  machine  shops  under  the  super- 
vision of  Gage  and  his  associate,  Al  Ton- 
dreau.  All  of  the  metal  work  of  these 
machines,  including  roller  shafts,  plumb- 
ing, valves,  etc.,  is  of  stainless  steel. 
Stainless  Steel 

The  tanks  are  of  conventional  wooden 
construction,  lined  with  welded  Grade  A 
Type  304  stainless  steel.  All  of  the 
other  metalwork  in  contact  with  the  solu- 
tions, and  where  no  welding  was  in- 
volved, is  of  Type  302  stainless  steel. 

The  rollers  over  which  the  film  travels 
are  of  conventional  Bakelite  construc- 
tion, rolling  on  special  ball  bearings 
using  Pyrex  balls.  Approximately  33,000 
of  these  Pyrex  balls  are  used  in  the  six 
machines.  The  film-driving  sprockets 
are  composed  of  Bakelite  flanges  with 
sprockets  machined  from  stainless  steel 
tubing. 

All  of  the  sprockets  and  rollers  in  the 
machines  are  placed  at  a  slight  angle  to 
the  axis  of  the  film's  primary  direction 
of  travel,  to  eliminate  undue  twisting 
stresses  as  the  film  feeds  from  one  set 
of  rollers  to  the  next.  The  film  is  under 
extremely  low  tension.  In  the  solution 
and  washing  tanks  the  tension  is  less 
than  eight  ounces;  in  the  drying  com- 
partments the  tension  is  only  slightly 
higher. 

In  the  drying  compartments,  incident- 
ally, special  provision  is  made  to  remove 
from  the  film  the  static  charge  almost 
inevitably  accumulated  during  progress 
through  the  machine.  This  consists  of 
several  stainless  steel  rods  placed  mid- 
way between  film  loops.  The  device  has 
proved  eminently  successful. 

Machine  Speed  Variable 

The  speed  of  the  machines  is  variable 
over  an  exceptionally  wide  range.  The 
driving  motors  are  of  the  constant-speed 
type  and  operate  through  variable  trans- 
missions. Generally,  however,  the  set- 
ting of  these  transmissions  is  seldom,  if 
ever,  altered.  Instead,  the  timing  of 
developing,  or  any  other  operation,  is 
varied  by  altering  the  length  of  the  loops 
in  the  tanks. 


This  is  done  by  means  of  elevators, 
of  which  there  are  several  to  each  tank. 
These  consist  of  a  fixed  roller  at  the  top 
of  the  tank  and  a  lower  roller  whose  sep- 
aration from  the  top  roller  can  be  varied. 

The  same  general  principle  is  used  as 
a  safeguard  in  the  event  of  any  accidents 
or  other  variations  in  the  operation  of 
each  of  the  several  sections  of  the  ma- 
chines. A  multiple  elevator  is  provided, 
with  several  rollers  at  the  fijced  end,  and 
a  similar  number  attached  to  the  moving 
end. 

Through  an  automatic  action  these 
safety  elevators  pay  out  or  take  in  a 
considerable  amount  of  film  without  in- 
terrupting the  functions  of  preceding  or 
suceeding  sections  of  the  machine.  At 
the  feed  end,  for  example,  such  a  mechan- 
ism permits  the  operator  to  take  as  much 
as  three  or  four  minutes  in  splicing  a 
fresh  length  of  film  into  the  strand. 

Similar  elevators  are  provided  between 
the  developing  and  fixing  units,  between 
the  fixing  and  washing  units,  and  be- 
tween the  washing  and  drying  units. 

Provision  is  made  at  each  of  these 
points  whereby,  in  the  event  of  failure 
of  any  part  of  the  machine,  the  film  be- 
ing processed  can  be  shunted  to  the  next 
stage  of  any  of  the  other  machines. 

It  is  also  possible  to  by-pass  any  of 
the  sectional  solution  tanks,  or  to  have 
one  set  of  tanks  in  the  machine  devoted, 
say,  to  picture-negative  developer  and  an 
adjacent  set  to  sound-track  negative  de- 
veloper, so  that  the  machine  may  be 
utilized  interchangeably. 

Stainless  Steel  Pipes 

The  solution,  which  is  of  course  filtered 
and  temperature-controlled  to  within  less 
than  one-tenth  of  a  degree  of  any  pre- 
determined temperature,  is  circulated 
through  stainless  steel  pipes. 

Turbulation  is  secured  by  pumping  the 
solution  inta  the  solution  tanks  through 
special  stainless  steel  manifolds  from 
which  finely  perforated  tubes  extend  ver- 
tically downward.  A  constant  stream 
of  fresh  solution  is  thus  directed  against 
the  face  of  the  film  at  all  times. 

An  interesting  system  of  circulation  is 
used  in  connection  with  the  washing 
water.  The  fresh  water  is  pumped  first 
into  the  last  wash-tank.  From  this  it 
passes  to  the  next  tank,  and  so  on  until 
it  finally  ends  up  in  the  first  wash. 

Thus  fresher  and  fresher  water  is  used 
for  each  succeeding  wash,  which  natur- 
ally finds  progressively  less  hypo  to  re- 
( Continued  on  Page  105) 


March,  1938    •    American  Cinematographer  97 


New 
Warner 
Brothers 
studio 
laboratory 
building  in 
Burbank 


Washtank 
section  of 
developing 
machines 
Note 
compensating 
elevator, 
left 

foreground. 

— Photos  by 
Schuyler  Crail 


98     American  Cinematographer    •    March,  1938 


WHEN  Elmer  Dyer,  A.S.C.,  as  was 
told  in  this  magazine  last  month, 
returned  to  Hollywood  after  a 
long  assignment  to  "Shadow  of  the 
Wing,"  being  produced  in  England  by 
M.  G.  M.'s  subsidiary  in  that  counti-y, 
he  brought  with  him  keen  recollection 
of  several  thrills.  In  a  majority  of 
cases  these  had  to  do  with  flying  in 
association  with  the  keen  young  men  of 
the  Royal  Air  Force,  the  men  on  whom 
England  so  heavily  leans. 

Up  in  the  top  of  those  memories  were 
experiences  of  flying  in  fog,  sometimes 
practically  wing  tip  to  wing  tip — cir- 
cumstances which  from  description  seem 
reminiscent  of  the  recent  disaster  off 
the  California  coast  when  two  giant 
bombers  touched  wings  and  were 
destroyed,  taking  a  dozen  men  to  death 
with  them. 

It  was  the  expected,  the  natural  thing 
that  the  American  should  be  made  fully 
aware  of  the  hazard,  veteran  flyer 
though  he  was.  The  one  reassuring  fac- 
tor in  the  situation  always  was  the 
nonchalance,  the  poise,  of  the  pilot  and 
co-pilot.  To  them  it  was  all  in  a  day's 
work. 

On  one  of  these  days  it  was  necessary 
for  the  squadron  to  climb  nine  thou- 
sand feet  to  reach  the  roof  of  the  fog. 
Sometimes  in  the  course  of  that  climb 
the  wings  of  the  plane  assigned  to  the 
side  of  the  one  bearing  the  cameraman 
were  in  dim  sight  and  sometimes  not 
even  that. 

Radiophone  a  Thrill 

There  was  one  factor  present,  how- 
ever, that  counted  tremendously  for  the 
safety  of  all  concerned.  That  was  the 
radiophone — a  device  for  some  time  in 
use  in  service  and  commercial  planes, 
but  here  for  the  first  time  in  Dyer's 
personal  experience  employed  on  a  cam- 
era plane. 

It  was  his  contact  with  the  radiophone 
device  that  supplied  the  American 
cameraman  with  the  top  thrill  of  his 
visit. 

Equipped  with  two  earphones  and  a 


WORKING  BY 
RADIOPHONE 
BRINGS  NEW 
AIR  THRILL 

Elmer  Dyer  Quickly  Finds 
Device  Spells  Efficiency 
For  Camera  Plane  as  Well 
as  Security  to  Personnel 
and  Real  Economy  to  Budget 


By  GEORGE  BLAISDELL 


Part  II 


microphone,  all  a  part  of  his  helmet,  the 
director  of  photography  becomes  in  fact 
the  director  of  air  sequences.  Through 


the  aid  of  broadcasting  facilities  he  is 
able  to  shorten  the  time  in  the  air  of 
the  contributing  squadrons.  At  times 
in  the  making  of  this  picture  by  M.  G. 
M.  British  there  were  twenty-seven  R. 
A.  F.  planes  in  flight. 

This  formidable  armada  was  as  re- 
sponsive to  the  manoeuvres  called  for  in 
the  prepared  script  as  interpreted  by 
the  photographic  director  as  a  troop  of 
cavalry  to  its  captain. 

When  the  camera  ship  left  the  ground 
there  were  in  the  front  section  the  pilot 
and  co-pilot,  with  the  radiophone  and 
broadcasting  equipment  and  the  operator 
installed  in  the  room  behind  them.  With 
an  intervening  door  removed  the  camera- 
man became  a  roommate  of  the  radio 
director.  The  camera  was  inounted  out- 
side the  window. 

When  the  camera  ship,  a  sweet  bit  of 

British  army  plane  converted  to  a  broad- 
casting and  camera  ship.  Pilot  and  co- 
pilot are  in  front,  radiophone  director 
and  cameraman  in  quarters  behind  them, 
with  camera  mounted  outside. 


March,  1938 


American  Cinematographer  99 


machinery  that  traveled  in  most  casual 
fashion  200  mph,  reached  the  rendezvous 
the  radioman  would  ask: 

"Mr.  Dyer,  the  squadron  leader  says 
the  squadron  is  all  set  and  wishes  to 
know  if  he  will  proceed  in  accordance 
with  the  script  in  Scene  426." 

The  cameraman  throws  the  silencing 
switch  or  key  in  the  device  just  opposite 
his  mouth,  because  while  talking  he  may 
not  hear  what  he  is  saying,  and  his  an- 
swer may  be: 

Hears  Orders  Go  Down  Line 

"Please  tell  him  yes,  and  add  that  my 
camera  is  bearing  on  his  ship  and  run- 
ning." The  cameraman  immediately 
throws  his  key  from  the  intercommuni- 
cating to  the  outside  system  and  auto- 
matically becomes  a  listener. 

He  hears  his  words  repeated  to  the 
squadron   leader   and    hears   them  ac- 

Eight  scTioiis-facad  comtnissioned  mcw- 
ber.f  of  the  Royal  Air  Force,  men  who 
lightly  do  a  heavy  job.  Elmer  Dyer  with 
his  camera  and  equipment  is  fifth  from 
the  left. 


knowledged.  Then  in  turn  he  hears  the 
instructions  issued  by  the  leader  to  all 
of  the  twenty-seven  planes  and  notes 


Elmer  Dyer  equipped  in  the  garb  of  a 
British  R.  A.  F.  man  off  the  ground, 
with  earphones  and  microphone  with 
control  key  attached  to  his  helmet.  Also 
for  good  measure  there  is  a  parachute. 

how  the  instructions  tally  with  the 
script.  He  hears  the  acknowledgement. 
And  a  second  later  the  show  is  on  in 
full  blast. 

"The  manoeuvre  that  follows  may  be 
any  one  of  an  almost  endless  list  of 
stunts,"  explained  the  cameraman.  "It 
may  be,  for  instance,  a  dive  or  a  break- 
up of  formation  or  a  'peel-off.'  That  last- 
named  thing  is  a  thriller  from  the  posi- 
tion of  the  camera.  It  is  like  a  row  of 
men  walking  a  plank,  to  employ  what 
actually  is  a  woefully  pale  comparison. 

"Here  in  a  predetermined  formation 
the  ships  come  straight  at  you,  driving 
like  a  bat  out  of  hell,  until  each  one 
gets  within  a  certain  distance  of  the 
camera  ship.  Right  here  comes  a  sharp 
dive.  Really  it  is  more  than  a  dive.  Into 
it  is  mixed  a  sideslip. 

"You  don't  have  to  wait  until  you 
see  this  on  the  screen  to  get  a  kick  out 
of  it.  That  comes  plenty  strong  right 
in  the  making.  You  know  hardly  any 
man  in  that  camera  ship  will  be  blamed 
more  than  a  bit  anyway  if  a  vagrant 
suspicion  enter  his  mind  as  to  the  in- 
tegrity of  the  steering  gear  in  every 
ship  that  so  relentlessly  seems  to  be  and 
in  reality  is  bearing  down  on  him. 
Radiophone  a  Link 

"But  a  thrill  of  that  kind  is  fleeting 
— a  thing  of  the  moment.  It  is  a  part  of 
the  philosophy  of  the  airman — its  de- 
gree controlled  perhaps  by  the  percent- 
age of  hours  each  has  spent  and  is 
spending  in  the  air — that  at  all  times  he 
is  on  the  lap  of  the  gods. 

"What  is  a  thrill  today  is  a  matter  of 
course  tomorrow.  It  is  a  work  in  which 
each  does  his  best  to  make  secure  the 
life  and  limb  of  himself  and  his  associ- 
ates. And  beyond  that  no  man  can  go. 
He  rests  on  that  and  just  forgets  it." 

The  radiophone  constitutes  the  link 
(Continued  ow  Page  108) 


i 


100     American  Cinbmatographer    •    March,  1938 


TWENTY-EIGHT  days  have  passed. 
The  windy  month  is  here  to  blow 
away  all  the  hard  feelings  of  Feb- 
ruary ...  if  there  are  any  .  .  .  Saw 
"Forlorn  River,"  by  Harry  Hollinber- 
GER.  Harry  also  did  a  commendable  job 
on  the  second  unit  of  "Wells  Fargo." 
Both  Paramount  Pictures  .  .  .  Who  was 
the  famous  member  having  his  portrait 
taken  by  one  of  those  dime  machines 
on  Vine  Street  .  .  .  maybe  we  should 
have  a  staff  fotog  .  .  .Edward  Snyder 
doing  the  "Jones  Family  to  Paris"  for 
20th  .  .  .  Joe  August  busy  with  "Mar- 
riage Business"  for  R.K.O.  .  .  .  SoL  Po- 
lito  made  his  first  appearance  at  the 
last  month's  stag  party.  Now  he's  sor- 
ry he  missed  those  in  the  past  because 
he  met  an  old  friend  —  Good  fellow- 
ship .  .  .  James  Wong  Howe  getting  him- 
self all  tangled  up  in  cartoons  over  at 
Walt's  mouse  factory  .  .  .  and  he  likes 
it.  Jimmy's  ideas  on  color  and  lighting 
will  no  doubt  prove  an  asset  to  the  Dis- 
ney "family."  Though  nothing  could 
further  enhance  my  favorite  —  Donald 
.  .  .  Bob  DeGrasse  watching  his  print  on 
"Vivacious  Lady"  for  R.K.O.  .  .  .  Joe 
Walker  trying  to  time  the  finish  of 
"Joy  of  Loving"  at  R.K.O.  to  start  the 
next  Capra  epic  at  Columbia  .  .  .  Jack 
Marta  finishing  up  "The  Sidewalks  of 
New  York"  for  Republic  .  .  .  Ray  June 
still  at  "Test  Pilot"  for  M.G.M.  ...  My 
thanks  to  John  Arnold  for  a  very 
pleasant  week  at  the  Roach  Studios  .  .  . 
The  newspaper  writers  are  beginning  to 
recognize  any  meritorious  piece  of  in- 
dividual work  done  by  photographers 
and  commend  it  in  print  without  fear 


WHAT 
ABOUT 
ME.? 

By 

BEE  GEE 


of  argument,  as  witness  Harrison  Car- 
roll's rave  about  Byron  Haskins'  spe- 
cial effect  work  in  Warners'  "Submarine 
D-1"  .  .  .  Ernest  Palmer  doing  "Four 
Men  and  a  Prayer"  for  20th  .  .  .  Stan- 
ley CORTEZ  starts  "The  Lady  in  The 
Morgue"  for  Universal.  He  plans  a  lot 
of  Ag'fa  nite  shots,  so  watch  those  fil- 
ters, Stanley  .  .  .  Joe  August  doing 
"It  Couldn't  Happen  Again"  for  R.K.O. 
.  .  .  Gregg  Toland  is  going  to  win  that 
Eastman  Minicam  or  bust  .  .  . 

Saw  a  swell  job  by  Harold  Rosson— 
"A  Yank  at  Oxford"  .  .  .  Arthur  Ede- 


SON  on  "Cowboy  from  Brooklyn"  for 
Warners  .  .  .  George  Barnes  still  do- 
ing "Golddiggers  in  Paris"  for  the  same 
studio  .  .  .  D.  O.  Selznick  pleased  with 
Russell  Metty's  tests  .  .  .  Harry  Neu- 
mann starting  "State  Police"  for  Uni- 
versal .  .  .  George  Robinson  in  the  mid- 
dle of  "Good-bye,  Broadway,"  for  the 
same  studio  .  .  . 

PRESS  TIME  ITEMS  .  .  .  Edward 
Linden  doing  the  Louis  Weiss  serial, 
"The  Secret  of  Treasure  Island,"  Allen 
Thompson  on  the  "Trail  Blazers," 
Benjamin  Kline  on  "Hidden  Trails" 
and  James  S.  Browne,  Jr.  on  "Stage 
Coach  Trail,"  all  released  by  Columbia 
.  .  .  Lester  White  continues  the  "Judge 
Hardy's  Children"  series  for  M.G.M. 
.  .  .  Harry  Fishbeck  starting  "The  Tex- 
ans"  and  Victor  Milner  a  few  days  in- 
to "Crime  Gives  Orders,"  both  for 
Paramount  .  .  .  NiCK  Musuraca  on 
"Law  of  the  Underworld"  and  Joe  Aug- 
ust starting  "Go  Chase  Yourself"  for 
R.  K.  O.  ...  Arthur  Miller  back  with 
Shirley  on  "Little  Miss  Nobody"  for 
20th  .  .  .  Rudolph  Mate  doing  Wanger's 
"The  River  Is  Blue"  .  .  .  Milton  Kras- 
ner  starting  "Nurse  From  Brooklyn"  at 
Universal  .  .  .  Sid  Hickox  likewise  "The 
Woman  Habit"  and  L.  William  O'Con- 
nell  "When  Were  You  Born?"  for  War- 
ners .  .  .  Theodor  Sparkuhl's  "Dan- 
gerous to  Know"  for  Paramount  was 
previewed  and  will  hit  the  streets 
shortly  .  .  .  The  two  dailies  liked  the 
work  of  Jack  McKenzib  on  "Hawaii 
Calls"  for  R.K.O.  .  .  .  Met  my  old  friend 
Charlie  (Otto  Focus)  Boyle  at  the 
open  meeting.  You  will  no  doubt  re- 
member his  witty  column  in  the  I.  A. 
Magazine.  Although  he  politely  re- 
fused to  take  over  my  job  here  he  prom- 
ised to  send  in  some  copy.  Let's  have  it, 
Charlie,  because  I'm  not  always  going 
to  be  on  the  "available"  list  .  .  .  Caught 
the  preview  of  Monogram's  "Port  of 
Missing  Girls"  which  Gilbert  Warren- 
ton  photographed.  Variety  reviewed 
Gil's  work  as  one  of  the  "redeeming 
features"  of  the  picture  .  .  .  The  Twen- 
tieth Century  publicity  department  is 
seriously  considering  the  new  .Jacobson 
flash  synchronizer  for  all  their  graphic 
camei-as.  The  majority  of  our  Los  An- 
geles papers'  news  cameras  are  so 
equipped.  Even  I  have  one  on  my  3^/4  x 
41/4  and  it  hasn't  missed  yet.  The  reason 
I  mention  it  is  because  Jacobson  has 
designed  a  synchronizer  for  the  mini- 
cams  that  gives  perfect  synchronization 
up  to  1/1250  second,  and  what  cinefotog 
hasn't  a  minicamera  of  some  sort?  .  .  . 
Joseph  Valentine  receiving  bouquets 
for  his  "Mad  About  Music"  from  the 
Hollywood  Reporter  .  .  . 

Tony  Gaudio  raving  about  the  new 
Warner-Gage  laboratory.  He  says  it  is 
the  best  worry  reliever  in  the  business 
.  .  .  Charles  Rosher  on  "White  Ban- 
ners," William  O'Connell  on  "Lady 
Luck,"  Warren  Lynch  on  "Torchy 
Blane  in  Panama"  and  Arthur  Todd  on 
"Crime  School,"  all  for  Warners  .  .  . 
Allen  Thompson  finishing  "Rawhide" 
for  Principal  .  .  .  Edward  Cronjager  well 
(Continued  on  Page  lOU) 


In  the  ai/dience  of  Jive  persons  watching  the  making  of  this  still  of  Sylvia  Sidney 
for  Paramount' s  "You  and  Me"  are  two  Langs — Charles  Lang,  A.S.C.,  and  Fritz 
Lang,  producer-director,  seated  on  the  floor.  George  Raft,  in  the  center,  lays  hands 
on  the  cameraman  possibly  to  prevent  any  intended  larceny  of  the  scene.  The 
operative  cameraman  is  Lionel  Lindon.  And  out  of  the  picture  shooting  the  scene 

is  Malcolm  Bulloch. 


March,  1938    •    American  Cinematographer 


THE  SOLUTION 


FINE  grain,  solver  of  many  a  photographic 
problem,  has  finally  overcome  the  problem 
of  duplicating.  Eastman  Fine  Grain  Dupli- 
cating Films  are  capable  of  making  ^'dupes" 
that  cannot  be  distinguished  from  originals. 
Now  the  original  in  the  laboratory  and  the 
duplicate  in  the  vault  can  be  actually  equal 
in  quality.  Eastman  Kodak  Company, 
Rochester,  N.  Y.  (J.  E.  Brulatour,  Inc.,  Dis- 
tributors, Fort  Lee,  Chicago,  Hollywood.) 


EASTMAN  Fine-Grain 

DUPLICATING  FILMS 


102     American  Cinematographer    •    March,  1938 


Camera  Script  Clerk  Experiment 
by  Daniels  at  MGM  Real  Success 

By  WILLIAM  H.  DANIELS,  A.S.C. 


DURING  the  filming  of  my  current 
production,  "Marie  Antoinette," 
starring  Norma  Shearer,  I  have 
been  lighting  some  of  the  biggest  sets 
the  Metro-Goldwyn-Mayer  Studio  has 
ever  built.  This  in  itself  is  no  small 
problem,  but  when  to  it  is  added  that  of 
keeping  track  of  all  the  details  of  light- 
ing, with  a  view  to  simplifying  the  mak- 
ing of  retakes  and  added  scenes,  and  to 
simplifying  as  well  the  problems  of  co- 
ordinating first  and  second  units,  the 
problem  becomes  really  serious. 

Shortly  after  the  start  of  production — 
actually  at  the  end  of  the  first  week — I 
decided  to  experiment  in  this  connection 
by  having  a  special  cinematographers' 
secretary  or  camera  script  clerk  on  the 
set  with  me. 

It  has,  I  admit,  definitely  been  an  ex- 
periment— pioneering,  perhaps,  would  be 
more  descriptive — but  it  has  been  more 
successful  than  I  could  have  imagined. 
The  system,  as  we  have  been  working  it 
out  as  we  progressed,  has  proved  so 
helpful  that  I  can  unhesitatingly  recom- 
mend it  to  any  cinematographer  engaged 
in  making  a  big  picture. 

Let's  trace  the  course  of  events  in 


lighting  one  of  our  big  sets.  In  the 
beginning,  I  discuss  the  treatment  of  the 
set  with  Len  Smith,  A.S.C,  who  is  as- 
sociated with  me  on  much  of  the  produc- 
tion. 

After  we  have  decided  in  principle 
what  we  should  do  with  the  set  in  ques- 
tion, he  gathers  an  electrical  crew  and 
proceeds  to  light  the  set,  while  I  carry 
on  with  the  production  immediately 
scheduled. 

Study  Tests 

When  he  has  completed  his  lighting, 
he  makes  a  photographic  test.  We  study 
this  together,  and  arrange  any  modifica- 
tions which  may  seem  advisable.  If  there 
are  many  changes  Len  makes  a  second 
test.  This  is  then  shown  to  the  art  direc- 
tors, the  director  and  the  producer.  If 
they  all  approve  that  is  our  lighting. 

Now  Smith  and  my  secretary,  Dorothy 
Kelley,  proceed  to  chart  the  type,  posi- 
tion, angle  and,  at  least  roughly,  the 
degree  of  flooding,  of  every  lamp  on  the 
set.  If  there  are  any  other  important 
variables,  such,  for  instance,  as  the 
height  of  chandeliers  in  shots  of  various 
angles,  as  may  be  necessary  to  maintain 


our  composition  throughout,  these,  too, 
are  carefully  recorded. 

At  this  point,  the  lighting  of  that  set 
is  complete,  even  though  the  schedule 
may  not  call  for  us  to  use  it  for  several 
days  or  a  week. 

Ordinarily,  the  equipment  used  would 
simply  have  to  be  tied  up  on  the  set,  or, 
if  it  were  removed,  our  company  would 
have  to  resign  itself  to  a  loss  of  time 
when  we  started  actual  shooting  while  I 
relit  the  set. 

But  in  this  case,  neither  happens.  Miss 
Kelley  has  made  an  accurate  diagram  of 
the  lighting.  It's  down  in  black  and 
white,  with  nothing  trusted  to  anybody's 
memory. 

Lights  from  Plans 

So  if  those  lamps — any  of  them  or  all 
of  them — happen  to  be  needed  elsewhere, 
they  can  be  taken  away  with  no  loss. 
When  we  are  ready  to  shoot,  the  gaffer 
simply  can  take  Miss  Kelley's  map  of 
the  lighting  the  evening  before  and  re- 
light the  set  quickly  and  easily. 

Here  he  will  put  a  G-E;  there  two 
Juniors;  along  here  a  string  of  24s  with 
perhaps  a  10  K-W  or  a  H.  I.  Arc  in  be- 
tween; along  these  pillars,  Gimmicks  or 
baby  spots.  They  don't  have  to  be  the 
same  lamps;  any  lamps  of  identical  type 
will  do.  And  he  can  place  them  precisely 
as  Smith  and  I  had  the  set  lit  originally. 

WTien  we  come  on  to  the  set  the  sched- 
uled morning,  there  we  are,  with  the  set 
almost  perfectly  lit — considerably  better 
than  merely  "roughed  in."  The  company 
is  ready  to  shoot  in  a  few  minutes,  quite 
as  though  we  were  continuing  work  on  a 
set  we  had  used  the  day  before. 

On  the  set,  my  secretary  keeps  care- 
ful, detailed  notes  of  everything  concern- 
ing the  photography  as  each  set-up  is 
shot.  Her  notes  show  the  camera-angle, 
the  lens  used,  the  camera  position  if 
there  is  anything  unusual  about  that,  and 
mention  enough  about  the  action  to  make 
the  notes  intelligible  and  to  identify  the 
"take." 

Complete  Story 

The  next  day,  when  the  light  tests  are 
delivered  from  the  laboratory  I  turn 
them  over  to  Miss  Kelley.  She  checks 
them  against  her  notes,  and  then  files 
them  in  a  special  photographic  card  in- 
dex she  has  kept.  In  this  we  have, 
almost  literally,  a  complete  picture  story 
of  every  scene  in  the  production. 

Beside  this,  she  keeps  my  copy  of  the 
script.  If,  for  instance,  in  my  own  study 
of  the  script,  I  have  noted  any  particular 
(Continued  on  Page  106) 


Director  of  Photography  William.  Danieh,  A.S.  C,  and  his  secretary,  Dorothy  Kelley, 
check  light  tents  against  the  plan  of  set's  lighting  while  filming  "Marie  Antoinette." 


March,  1938 


American  Cinematographer  103 


.V 


THEATER  PATRONAGE 
IS  THE  YARDSTICK 
OF  STUDIO  SUCCESS 

Stimulation  of  theater  patronage  through 
better  projection  and  more  comfortable  vision 
is  the  aim  of  the  current  series  of  advertise- 
ments appearing  monthly  in  leading  exhibi- 
tors' journals.  A  recent  advertisement  of 
this  series  is  here  reproduced. 


■,::;:;:'»'•  ;;r,„r'  

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I'irli"'' 


NATIONAL  CARBON  COMPANY,  INC.  / 


AND 


\SC. 


CARBON 

"^O-e..^  Office- 


104     American  Cinematographer    •    March,  1938 


What  About 
Me? 


(Continued  from  Page  100) 

into  "Island  in  the  Sky,"  while  Lucien 
Andriot  is  holding  his  own  with  "Mr. 
Moto's  Gamble,"  both  for  20th  .  .  Alex 
Phillips  balancing  light  on  "Maxmillian 
and  Carlotta"  for  Colonial  Pictures  .  .  . 
Archie  Stout  slides  into  the  finish  just 
before  press  time  on  "Professor,  Beware" 


COOKE  CINE  LENSES 

Cooke  lenses  will  give  you  crisp, 
extremely  sharp  definition 
throughout  the  entire  spectrum. 
Envisioning  future  demands, 
Cooke  lenses  have  always  sur- 
passed current  requirements. 
Focal  lengths  for  every  need. 
Write  for  descriptive  literature. 

BELL  &  HOWELL 

COMPANY 

Exclusive  World  Distributors  of 
Taylor-Hobson  Cooke  Cine  Lenses 
1848  Larchmont  Avenue,  Chicago 
New  York:  11  West  42d  Street 
Hollywood:  7 1 6  N.  LaBrea  Avenue 
London:  13-14  Great  Castle  Street 


for  Harold  Lloyd  .  .  .  Joe  Ruttenberg 
thought  he  was  going  to  have  a  fine 
vacation  in  New  York,  but  Postal  Tele- 
graph caught  up  with  him  and  he  is 
now  throwing  shadows  around  on 
Metro's  "Three  Comrades"  .  .  .  Over  at 
Paramount  we  have  Leo  Tover  on 
"Cocoanut  Grove,"  Ted  Tetzlaff  on 
"Tropic  Holiday,"  Charles  Lang  about 
to  wind  up  "You  and  Me"  and  William 
Mellor  dropping  the  curtain  on  "Stolen 
Heaven"  .  .  .  Oliver  Marsh  still  on 
"Girl  of  the  Golden  West"  and  William 
Daniels  doing  "Marie  Antoinette"  over 
at  Metro  .  .  .  James  S.  Brow.n,  jr., 
about  to  finish  Darmour's  "Flight  into 
Nowhere"  .  .  .  Henry  Freulich  finished 
"There's  Always  a  Woman"  for  Colum- 
bia.  (I  don't  mean  statues.) 

*  *  * 

Nature  certainly  takes  care  of  her 
own.  Glenn  MacWilliams  has  a  bumpy 
railroad  train  to  thank  for  hospital-timo 
cut  down.  It  seems  that  after  the  auto 
accident  that  injured  his  back  he  made 
the  trip  from  Arizona  to  Hollywood 
against  the  orders  of  the  M.D.,  who 
claimed  the  rough  ride  would  be  any- 
thing but  good — possibly  fatal — for  his 
condition,  but  Glenn  couldn't  see  it  that 
way  and  boarded  the  train.  The  con- 
tinual agitation  of  train  stopping,  start- 
ing and  swaying  on  curves  all  became 
the  new  doctor,  and  the  trip  did  him 
more  good  than  six  months  special 
manipulation  he  could  have  received 
from  the  hospital. 

*  *  * 

It  was  a  real  pleasure  to  meet  under 


Fried   Laboratory  Equipment 

35MM         I6MM  COLOR 
Printers:    Color,    Continuous,    Step,  Optical 
Lite   Testing    Machines   Developing  Machines 

FRIED  CAMERA  CO. 

6154  Santa  Monica  Blvd.,  Hollywood,  Gal. 
Cable:  FRIEDCAMCO 


FAXON  DEAN 


INC. 


CAMERAS 

BLIMPS-DOLLYS 

FOR  REXT 
MO.  11S3» 

4516  Sunset  Boulevard     Night,  No.  Hollywood  1271 


cur  own  roof  Joseph  Schenck,  recently 
elected  to  succeed  Louis  B.  Mayer,  retir- 
ing after  seven  years'  service  as  presi- 
dent of  the  producers'  association.  Mr. 
Schenck's  appearance  established  a  prec- 
edent in  the  relations  between  the 
producers  and  the  A.S.G.,  a  meeting 
brought  about  by  a  desire  on  the  part 
of  the  two  bodies  amicably  to  solve  a 
controversy  that  for  some  time  had  been 
on  the  fire. 

The  successful  issue  of  the  get-to- 
gether, the  laying  of  his  cards  on  the 
table  by  the  head  of  one  body  address- 
ing the  members  of  the  other,  augurs 
well  for  the  future — in  a  return  applica- 
tion to  the  same  principle  should  a 
parallel  situation  arise. 

Mr.  Schenck's  simplicity,  his  sincerity 
and  his  direct  appeal  to  the  fairness  of 
his  hearers  won  the  hearts  of  all.  Some- 
how they  saw  him  not  as  one  of  the 
largest  shareholders  of  a  major  studio. 
They  saw  him  simply  as  a  man — and 
one  who  knows  his  cameramen. 

*       *  * 

My  assistant  says:  To  put  enough 
light  on  it  so  you  don't  have  to  explain 
to  the  producer  what  it  is  .  .  .  That  if 
one  person  tells  you  that  you  are  a  suc- 
cess you  become  aware  of  your  responsi- 
bility and  strive  a  little  more,  BUT  if 
ten  people  tell  you,  you  ARE  a  success 
.  .  .  That  the  new  Agfa  film  is  so  fast 
you  have  to  sneak  up  on  the  shutter  or 
it  will  beat  you  to  the  exposure  .  .  . 
That  a  bad  worker  will  always  be  a  bad 
worker  and  nothing  can  change  him,  so 
sarcasm  is  wasted  .  .  .  That  the  man 
whose  mind  is  filled  with  creative  ideas 
has  no  time  to  criticise  .  .  .  That  men 
with  the  most  photographic  knowledge 
make  the  most  consistently  successful 
directors  .  .  .  That  if  you  tell  one  little 
lie  you  have  to  tell  fifty  to  keep  that  one 
alive;  then  you  finally  have  to  tell  the 
truth  and  you're  very  much  embarrassed. 
Ain't  it  aw^ul  ?  .  .  .  * 


With  Size  and  Quality 

La  Cinematographie  Francaise  of 
Paris,  under  the  directorship  of  Paul 
Auguste  Harle,  in  its  December  issue  cele- 
brated its  twentieth  anniversary  with  a 
bang.  Its  354  pages  and  cover,  of  which 
199  are  in  advertisements,  nearly  all  of 
full  page,  seem  to  set  a  standard  that 
approaches  a  world  record  in  size  for 
motion  picture  trade  papers. 

A  suggestion  of  the  bulk  of  the  publi- 
cation may  be  gained  from  the  state- 
ment it  weighs  in  excess  of  four  pounds. 
There  are  many  inserts  of  heavy  paper, 
some  of  them  printed  with  unusual  care. 
The  publication  is  a  credit  to  the  maga- 
zine and  to  the  craftsmen  who  created  it. 


More  Business  for  Contner 

Motion  Picture  Camera  Supply  Inc.  of 
723  Seventh  avenue.  New  York,  has 
moved  to  larger  quarters  but  has  not 
changed  its  address.  Increasing  sales,  J. 
Burgi  Contner  reports,  have  lifted  the 
company  twelve  floors  to  the  pent  house. 
Incidentally  a  larger  laboratory  has  been 
installed. 


March,  1938 


•    American  Cinematographer  105 


Fred  Gage  Creates  Lab 

(Continued  from.  Page  96) 

move  from  the  film.  This  system  of 
circulation  has,  according-  to  Gage,  cut 
the  laboratory's  water  bill  by  one  third. 

Control  of  the  circulation  and  tempera- 
ture of  all  solutions  and  of  the  pressure, 
temperature  and  humidity  of  the  drying- 
compartment  air  is  fully  automatic.  This 
control  is  centralized  in  a  special  instru- 
ment room,  where  each  machine  and  com- 
ponent is  controlled  by  automatic  record- 
ing and  controlling  machinery.  The  tem- 
perature of  many  solutions  is  thus  held 
constant  to  within  a  maximum  of  one- 
tenth  of  a  degree. 

The  air-conditioning  installation  sup- 
plying the  drying  compartments  of  the 
six  developing  machines,  it  may  be  men- 
tioned, is  wholly  separate  from  the  build- 
ing's air-conditioning. 

Plenty  of  Reserves 

The  picture  negative,  sound  negative 
and  positive  developing  machines  are 
each  placed  in  their  own  darkroom,  while 
their  respective  washing  and  drying  units 
share  a  common  room. 

In  this  room,  too,  are  two  additional 
washing  and  drying  installations  which 
may  be  used  either  as  reserves,  in  the 
event  of  a  breakdown  of  any  of  the 
other  lines,  or  for  tinting  and  toning,  if 
such  at  any  time  becomes  necessary. 

The  printing  room  is  most  modernly 
equipped,  and  is  at  present  fitted  with 
standard  Bell  &  Howell  printers.  Since 
this  plant  does  release  printing  only  for 
the  west-coast  releases,  and  the  majority 
of  the  release  prints  are  made  in  the 
studio's  east  coast  laboratory,  the  larger 
Bell  &  Howell  production  printers  are 
not  used  at  present,  but  provision  for 
their  use  has  been  made  in  case  any 
contingency  should  increase  the  volume 
of  this  work  done  here.  The  plant's 
present  capacity  is  in  excess  of  38,000 
feet  of  negative  and  positive  film  an 
hour. 

The  layout  of  the  building  has  the 
machine  rooms,  the  printing  room,  the 
negative  and  positive  assembly  rooms, 
the  offices,  chemical  laboratories  and  con- 
trol room  on  the  main  floor.  The  upper 
floor  contains  the  fully  automatic  air- 
conditioning  installations,  the  two  large 
projection  theatres — one  of  which  is 
equipped  with  the  latest  Western  Elec- 
tric wide-range  sound  installation,  and 
the  other  with  RCA  high  fidelity  sound 
— and  ample  additional  space  for  further 
offices,  machine  rooms,  or  other  equip- 
ment which  may  in  the  future  be  neces- 
sary. 


The  basement  contains  the  power  and 
heating  plants,  the  solution  mixing  facil- 
ities, the  solution  pumping,  filtering  and 
heat-controlling  systems,  and  the  silver- 
recovery  installation,  with,  of  course,  the 
necessary  supply  and  storage  rooms.  It 
should  be  mentioned  that  the  bottoms  of 
the  machine  tanks  and  the  drying  com- 
partments are  also  easily  accessible  on 
this  lowest  floor. 

Up  to  the  Minute 

The  new  plant  is  in  every  way  designed 
to  accommodate  every  technical  advance- 
ment or  change  which  the  best  techni- 
cians of  today  can  possibly  foresee.  This 
must  reflect  something  of  Superintendent 
Gage's  experience  of  ten  years  ago  when, 
at  the  time  Warners  pioneered  talking 
pictures,  he  found  himself  forced  to 
change,  almost  overnight,  from  an  estab- 
lished 400-foot  rolls  of  negative  and 
silent  pictures  to  the  then  almost  un- 
heard-of 1000-foot  rolls  required  for 
sound. 

It  very  certainly  reflects  his  skill  in 
the  care  for  which  quality,  dependability 
and  safety  have  been  provided  for 
throughout.  And  there  are  very  few 
laboratories  or  laboratory  heads  in  the 
industry  who  would  dare  to  do  what 
Gage  did  a  year  ago. 

Notified  that  Gaetano  Gaudio's  picture, 
"Anthony    Adverse,"    was    among  the 


Astro 


F  1.8 
F2.3 


LENSES 


for  sale  by 

Mitchell  Camera  Corporation 

665  North  Robertson  Blvd. 
West  Hollyv/ood,  California 


Fully  Guaranteed  Used  35mm  Equipment 


Mitchell,  Bell  &  Howell,  Akeley, 
DeBrie,  Universal,  Pathe  Cameras. 
Portable  Sound  Recording  Outfits. 
Eyemo  and  De  Vry  Spring  Driven 
Cameras. 


Holmes  Projectors,  Sound  and  Silent. 

De  Vry  Suit  Case  Model  Projectors. 
We  buy,  sell  and  rent 
anything  Photographic. 


Camera  Supply  Co. 


1515  No.  Cahuenga  Blvd. 

Cable  Address:  CAMERAS 


Hollywood,  Calif. 


BERnOT-mnURER 


THE 

117  East  24th  Sheet 


CORP. 
New  York  City 


B-M 


ANOTHER 
GUARANTY  FOR  BETTER 
SOUND  FILMS  AT  LOWER 
COST  .  .  . 


B-M  lb  mm.  SOUND-ON-FILM  RECORDER 

During  the  past  three  years 
B-M  has  pioneered  in  the 
development  and  sale  of  16 
mm.  equipment  for  the  pro- 
duction of  low  cost  business 
and  educational  films.  By 
utilizing  direct  16  mi^. 
Sound-on-Film  equipment, 
expensive  35  mm.  interme- 
diate steps  as  well  as  the 
many  fire  restrictions  im- 
posed on  35  mm.  films  are 
eliminated. 

The  model  "D"  Recorder  is 
a  new  addition  to  the  B-M 
16  mm.  line  of  cameras,  re- 
corders and  film  laboratory 
equipment  designed  to  pro- 
duce High  Fidelity  business 
and  educational  sound  films. 

These  16  mm.  machines, 
together  with  .  .  . 

PRECISIOn 

FILM  LABORATORY 

...  a  Berndt-Maurer  division 
established  to  ensure  the 
technical  excellence  of  16 
mm.  release  prints,  enables 
B-M  to  provide  a  complete, 
unified  and  up-to-the-minute 
service  for  16  mm.  Sound- 
Picture  producers. 

Inquiries  concerning  B-M  16 
mm.  equipment  and  film  lab- 
oratory services  are  invited. 


'B  -  M 

PRECISIOn 

FILM  LABORATORY 

21  West  46th  St-    •    N.  Y.  C. 


106     American  Cinematographer    •    March,  1938 


nominees  for  the  Academy  photographic 
award,  Gage  had  no  chance  to  make  or 
find  a  special  print  for  showing  to  the 
Academy  judges. 

Instead,  he  sent  hurriedly  to  a  small 
suburban  theatre  near  Los  Angeles,  and 
requisitioned  the  well-worn  print  which 


•  .  •  Cy  M  ^  E     •  •  • 

•  Light  Testers— Polishers  used  by  all 
maior  studios.  We  are  the  Sole  Mfrs. 
and  Distributors. 

•  Mfrs.  of  16mm  and  35mm  Recording 
Heads.  Amplifiers,  Developing  Ma- 
chines.   Printers,  Etc. 

CINEMA  ARTS— CRAFTS 

914  N.  Fairfax    HE-1984    Hollywood,  Calif. 


they  and  countless  other  theatres  had 
shown. 

He  ran  this  film  through  his  labora- 
tory's film-cleaning  machine  and  sub- 
mitted it  to  compete  with  specially  made 
prints  for  cinematography's  premier 
award.  When  Gaudio  received  the  award 
and  turned  to  congratulate  Gage  on  the 
fine  print  supplied,  he  was  greeted  with 
the  amazing  reply: 

"I  didn't  have  time  to  bother  with  a 
special  print — just  cleaned  up  the  handi- 
est one  I  could  find.  If  regular  produc- 
tion isn't  good  enough  for  everything, 
what's  a  laboratory  for?" 


Camera  Script  Successful 

(Continued  frotn  I'(uj<'  10^) 
scene  as  having  special  photographic  im- 
portance, she  will  have  a  note  of  it,  and 


eASTeRN  HeADQUARTCRS  J  FOR  THG  CA(V^eRAM€N 


RENTALS 


CAMERA 

REPAIR  WORK  BY 
EXPERT  TECHNICIANS 


 1  FRANK  ZUCKERj  i  


LIGHTS 
LENSES 
BLIMPS  •  DOLLIES 


/Camera  Equipment- 

1600  BROADWAY  AT  48^-"St  f.^^cSfp^ 


USE 


WONDERLITE  Photographic  Lamps 

/or  SUPERIOR  EFFECTS 
NATURAL  EXPRESSION  •  SNAP  AND  SPARKLE 


•  WONDERLITE  FILTER 
FLOOD  lamps  bring  daylight  to 
you. 

•  A  word  as  to  the  superior  ef- 
fects obtainable.  The  emitted 
light  is  cool  and  without  glare, 
not  only  adding  to  comfort  of 
both  photographer  and  subject, 
but  also  permitting  subject  to 
present  a  more  natural  expres- 
sion. Filter  flood  light  elim 
inates  back-flash.  Thus  it  is'  pos- 
sible to  photograph  glassware, 
jewelry  and  other  highly  pol- 
ished objects,  without  the  usual 
preliminary  preparation  and 
bothersome  retouching.  Pictures 
made  in  Filter  flood  light  have 


a  modeled  effect  and  depth  ap- 
proaching the  third  dimension. 

•  The  "WONDERLITE 
SERIES"  embraces  a  light  for 
every  photographic  need — Filter 
Flood,  Picture  Flood,  Dufaycolor 
Filter  Flood,  Opal  Flood— all 
give  constant  actinic  value  dur- 
ing rated  life  —  whether  the 
FIVE  HOUR,  TEN  HOUR  or 
FIFTEEN  HOUR  size.  Longer 
life — therefore  lower  cost  per 
hour! 

•  Better  movies  are  yours  for 
the  taking  by  using  WONDER- 
LITE PHOTOGRAPHIC 
LAMPS. 


See   your   dealer  or   write    us    for    information    about  the 
%      various  eroups  in  the  WONDERLITE  SERIES.    Ask  for  the  • 
new  lonK-life  Wonderlite  Opal  Flood  and  Enlarcinpr  Lamps. 

WONDERLITE  COMPANY 


WKST  ORANGE 


NEW  .JERSEY 


the  day  before  we  are  ready  to  shoot  it 
she  will  call  it  to  my  attention. 

All  of  this  is  quite  valuable  enough  to 
be  worthwhile  in  its  own  right;  but  in 
practice,  we  have  found  the  value  of  a 
cinematographer's  secretary  to  go  much 
farther.  She  has  become  a  sort  of  final 
court  of  appeal  in  many  instances. 

F'or  example,  a  few  days  ago  there 
was  a  friendly  dispute  on  the  set  between 
Miss  Shearer,  Director  Van  Dyke  and 
myself.  Miss  Shearer  was  confident  that 
in  making  a  certain  sequence  we  had 
neglected  to  make  a  certain  special  re- 
action shot;  Van  Dyke  and  I  were  equally 
confident  we  had  made  it. 

Finally  someone — I  can't  recall  who— 
said,  "Let's  see  what  Dorothy's  notes 
have  to  say  about  it!"  Miss  Kelley 
stepped  forward  with  her  notebook  and 
her  box  of  light  tests,  and  in  less  than 
seven  seconds  proved  conclusively  that 
Miss  .Shearer's  contention  was  right:  we 
had  not  made  that  shot. 

Time  Saver 

The  only  other  way  we  could  possibly 
have  had  of  determining  this  would  be 
to  have  collected  every  bit  of  film  we 
exposed  on  that  sequence,  and  wasted  an 
hour  or  so  in  the  projection  room  screen- 
ing it  and  hunting  for  the  debated  scene. 

I  think  every  member  of  the  company 
has  at  one  time  or  another  had  similar 
reason  to  consult  Miss  Kelley's  records. 
The  camera  staff,  of  course;  Director 
Van  Dyke  and  Miss  Shearer,  naturally; 
but  besides  them,  the  art  director,  the 
producer,  the  cutters  and,  it  seems,  each 
one  in  the  studio  except  Leo  the  lion  has 
found  the  answer  to  some  question  in  my 
secretary's  ever-growing  files. 

The  other  day,  between  set-ups,  I 
asked  Director  Van  Dyke  what  he 
thought  of  the  idea.  His  reply  was 
characteristically  to  the  point:  "It's  the 
greatest  thing  ever.  Now  we  know  just 
where  we  are,  and  get  every  detail  of 
any  scene  right  away,  without  spending 
half  a  day  hunting  through  miles  of  film 
in  a  projection  room.  What  beats  me, 
though,  is,  whyinell  didn't  somebody 
think  of  it  sooner?" 


Complete   Studio  Equipment 

KRUSE 
Camera  Rentals 

HI  4464  HI  8144 

1033  N.  Cahuenga  Nite  MO.  13470 


March,  1938    •    American  Cinbmatographer  107 


Rudy  Vallee^  Edgar  Bergen  and 
Yacht  Club  Boys  Entertain  A.S.  C. 


THAT  monthly  get-together  of  the 
members  of  the  A.  S.  C.  at  their 
clubhouse  on  the  last  evening  in 
February  was  one  to  be  remembered.  In 
the  first  place  it  was  raining — and  the 
floodgates  really  were  open.  With  a 
steady  roar  the  water  pounded  on  the 
glass  roof  over  the  lounge.  It  was  one 
of  those  occasions  when  any  man  with  a 
home  is  entitled  to  something  unusual  in 
the  way  of  credit  for  leaving  it,  and  par- 
ticularly and  emphatically  if  he  go  forth 
as  an  entertainer  and  not  as  one  who 
is  to  be  entertained. 

As  Ted  Tetzlaff,  A.  S.  C,  the  emcee  of 
the  evening,  opened  the  program  he 
stated  with  regret  that  Martha  Raye 
had  sent  her  apologies — from  the  hos- 
pital— where  she  had  been  hurried  that 
morning  to  combat  an  attack  of  what 
was  feared  might  be  pneumonia.  There 
also  came  a  promise,  however,  to  fulfill 
the  engement  with  her  cameramen 
friends  at  another  time.  The  morning 
following  a  note  of  appreciation  and 
good  wishes  from  the  A.  S.  C.  accom- 
panied by  flowers  were  sent  to  the  player. 

Edgar  Bergen,  A.  S.  C,  called  from 
the  audience  for  an  impromptu  word, 
uncovered  the  mirth  lid  by  telling  a 
couple  of  rural  tales — yes,  it  was  a 
night  off"  for  Charlie.  But  to  judge  from 
the  demonstration  that  greeted  the  hu- 
morist and  the  applause  and  vocal  hi- 
larity that  marked  the  closing  of  his  bit 
you  never  would  have  known  Charlie  re- 
mained at  home  out  of  the  rain.  Charlie 
would  have  enjoyed  the  fun.  And  per- 
haps, too,  he  will  suffer  a  slight  pang 
of  jealousy  when  he  reads  this. 

After  a  brief  recess  the  emcee  intro- 
duced Rudy  Vallee,  who  with  his  pianist, 
Elliott  Daniels,  and  the  members  of  his 


MOVIOLA 

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I\o  Blimp  ISecessary 

Has  built-in  motor,  automatic  dissolve, 
pilot  pins  and  anti-buckling  device.  Four 

1000-ft.  magazines  40  mm.  50  mm  and 

75  mm  F2.3  lenses — Mitchell  tripod,  De 
Brie  upright  finder,  set  of  front  attach- 
ments. Leather  covered  carrying  trunk 
and  tripod  cover.  It's  the  latest  type 
equipment  .  .  .  like  new! 

Camera  Equipment,  Inc. 

1400  Broadway  New  York  City 

Tel.  Circle  4-5080  Cable:  Cinequip. 


gram,  the  laughter  engendered  by  the 
comedy  providing  fertile  ground  for  the 
deeply  sinking  in  of  the  more  dramatic 
moments — and  of  these  there  were  sev- 
eral. 

The  outstanding  number  was  the  de- 
livery by  the  star  singer  of  ".  .  .  And 
All  Points  West."  It  was  a  combining 

(Continued  on  Page  I-IO) 


quartet,  Neil  Evans,  Del  Delbridge,  Bill 
Stam  and  Chet  Bree,  entered  to  a  hearty 
welcome.  The  complete  Valleeian  loud- 
speaking  equipment  previously  had  been 
installed  by  Sam  Narvo,  the  seventh 
member  of  the  troup.  It  was  the  third 
visit  of  the  evening  for  the  team,  the 
members  having  just  left  a  great  charity 
gathering. 

The  singer  introduced  his  program  by 
an  imitation  of  a  famous  radio  per- 
former. It  was  right  in  step  with  the 
spirit  of  fun  prevailing.  The  quartet 
sang  a  medley  reminiscent  of  the  clos- 
ing days  of  the  last  century — gay  and 
grave.    In  fact,  it  was  a  showman's  pro- 


COMPLETE  NEW  LINE 
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Automatic  Developing  Machines 

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ART  REEVES 

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Cable  Address:  ARTREEVES 
7512  Santa  Monica  Blvd.  Hollywood.  California  U.  S.  A. 


108     American  Cinematographer    •    March,  1938 


Working  by  Radiophone 

Brings  New  Air  Thrill 

(Continued  from  Page  99) 

that  heretofore  has  been  missing  in  the 
relation  between  the  airman  and  the 
cameraman  as  Dyer  with  emphasis 
pointed  out.  In  the  past  its  absence  has 
been  most  seriously  felt.  For  plan  as 
carefully  as  one  may,  it  is  impossible 
always  to  call  the  turn  on  what  will 
crop  up  in  the  course  of  a  couple  of 
hours'  schedule  in  the  air. 

If  something-  did  go  contrary  to  what 
had  been  planned  there  was  only  one 
course  to  pursue — back  to  the  airport 
and  go  into  a  huddle  and  stay  there 
until  a  solution  of  the  difficulty  had  been 
reached. 

With  the  radiophone  today  it  is  pos- 
sible and  quite  likely  that  weeks  will  take 
the  place  of  months  under  the  old  order. 
No  longer  is  the  man  behind  the  camera 
mute. 

Makes  for  Efficiency 

The  leader  of  the  squadron  through 
the  radio  man  will  call  the  cameraman 
and  the  two  will  discuss  the  situation 
when  a  tangle  arises.  It  may  be  a  se- 
quence has  been  shot  too  near  the  camera 
or  too  far  away.  The  remedy  or  alterna- 
tive is  quickly  spotted  and  the  order 
will  go  out.  Without  leaving  the  air  the 
sequences  that  may  be  listed  to  follow 
will  be  exposed  to  the  great  advantage 
of  the  cameraman  and  the  picture. 

Incidentally  also  will  it  conserve  the 
welfare  of  that  ever-present  nightmare 
the  budget.  For  costs  in  the  air  pile 
swiftly. 

It  seems  strange  that  flying  cinema- 
tographers  have  not  had  access  to  radio- 
phone facilities  in  the  United  States. 
More  than  a  dozen  years  ago  companies 
on  marine  location  were  employing  radio- 
phones to  communicate  between  differ- 
ent ships  under  studio  charter. 

Asked  as  to  what  was  the  nearest  in 
his  experience  in  the  United  States  to 
that  which  he  had  encountered  in  Eng- 
land Dyer  said  it  was  while  aboard  the 
ill-fated  dirigible  Macon  in  the  filming 
of  Columbia's  "Dirigible"  in  1930. 

"We  had  been  planning  to  land  at  10 
o'clock  in  the  morning,"  the  cameraman 
recalled.  "Not  long  before  that  time  we 
received  word  from  the  ground  not  to 
land  at  the  appointed  hour  on  account 
of  the  severe  winds  then  blowing  across 
the  landing  field.  You  see,  on  account 
of  the  size  of  the  ship  we  were  equipped 
with  radiophone. 

Making  Best  of  It 

"When  we  shortly  afterward  received 
word  from  the  director,  who  was  on  the 
ground,  as  to  just  how  we  might  employ 
our  full  camera  equipment  and  the  pres- 
ence on  board  of  one  of  the  leading 
players  we  thought  it  a  remarkable 
thing.  And  so  it  worked  out. 

"It  just  happened  the  wind  did  not  let 
up  in  its  severity.  We  already  had  some 


unusual  sunrise  shots  and  we  completed 
our  assignments  with  the  player.  Then 
we  caught  some  striking  sunset  shots, 
too,  as  just  previously  we  had  sailed  into 
rare  cloud  effects — yes,  like  some  of 
those  we  found  over  England  early  this 
summer. 

"But  perhaps  the  real  cause  of  this 
incident  sticking  seven  years  in  my 
memory  is  that  we  failed  to  get  the 
word  to  come  down  until  the  next  morn- 
ing, when  we  made  a  smooth  landing." 

Absence  of  Device  Felt 

Dyer  told  of  an  experience  in  working 
on  Paramount's  Technicolor  subject, 
"Men  of  Wings,"  since  returning  to 
Hollywood.  The  technicolor  camera  on 
account  of  its  bulk  and  weight  proved 
to  be  exceedingly  difficult  to  hold  against 


I 


the  slip.stream,  which  to  the  landsman 
indicates  the  pressure  of  rushing  air. 

Due  to  the  absence  of  the  radiophone 
he  was  unable  to  tell  the  pilot  of  his  own 
ship  the  urgency  of  easing  up  on  his 
throttle  or  due  to  the  same  disability  to 
converse  with  the  pilot  handling  the 
plane  opposite  him  and  on  which  the 
camera  was  bearing. 

The  planes  were  out  of  coordination, 
and  due  to  their  inability  to  maintain 
contact  by  signals  it  was  necessary  for 
the  two  to  land  and  again  return  to  the 
air  to  do  the  needed  scenes.  "If  we  had 
been  equipped  with  that  radiophone  I 
am  sure  we  could  have  accomplished 
what  we  wanted  to  do  on  our  first  trip 
up  not  only  much  more  easily  but  with 
a  material  saving  of  time — and  expense," 
Dyer  declared. 


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MOVIOLAS 

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There  is  "NO  SPILLED  LIGHT" 


When  you  use  a 

SOLARSPOT! 

MOLE-RICHARDSON  Co. 

941  No.  Sycamore  Ave.,  Hollywood.  Calif. 
Agents  wherever  pictures  are  made 


Confirmation; 

3   OUT  OF  3 

Productions 

Selected  for  Academy  Award 
for 

Best 
Photography 

By 

GREGG  TOLAND 
JOE  VALENTINE 
KARL  FREUND 

Exclusively 

EASTMAN 
SUPER  X 
NEGATIVE 


J.  E.  BRULATOUR,  INC 


YOU  WILL  NEED 

VERSATILITY  AND 
DEPENDABILITY  FO 
PERSONAL  MOVIES 
YOU'LL  TREASURE 


1 


FILMO  70-D 

The  master  of  all  personal  movie  cameras 

Filmo  70-D  is  truly  many  cameras  in  one — instantly 
convertible  from  a  light,  compact  type  for  outdoor 
filming  to  an  instrument  of  unsurpassed  versatility. 

This  finest  of  all  personal  movie  cameras,  designed 
and  built  by  the  same  master  craftsmen  who  fashion 
Hollywood's  precision  apparatus,  provides  seven  film 
speeds  (including  slow  motion),  a  turret  head  for 
quick  lens  changes,  and  a  wide  variety  of  optional 
accessories,  all  instantly  removable  without  tools,  such 
as  an  electric  motor  drive,  external  magazines  holding 
up  to  400  feet  of  film,  and  other  equipment  to  add 
novelty  and  variety  to  your  personal  films.  Send  the 
coupon  for  complete  details. 


FILMO  DOUBLE  8  (Right) 

This  8  mm.  camera  has  everything!  Instant  load- 
ing— film  literally  drops  into  place.  Taylor- 
Hobson  F  2.5  lens,  interchangeable.  Automati- 
cally reset  film  footage  dial.  Four  operating  speeds 
. . .  your  choice  of  two  speed  ranges  . . .  plus  single- 
frame  exposure  device  for  animation  work. 
Built-in  spyglass  viewfinder  with  masks  for  tele- 
photo  lenses.  With  speeds  8  to  32,  $80.  Speeds 
16  to  64,  $8  5.  Model  134-G,  with  F  3.5  lens, 
only  $55. 

BELL  &  HOWELL  COMPANY 

CHICAGO  •  NEW  YORK  •  HOLLYWOOD  •  LONDON 

For  more  than  31  years  the  world's  largest  manufacturer  of 
precision  equipment  for  motion  picture  studios 
of  Hollywood  and  the  world 


FILMO  121 — 16  mm.  Magazine  Loading 

The  perfect  "casual  camera"  for  week-end  movie  mak- 
ing. Loads  instantly  with  self-threading  film  magazine 
permitting  the  interchanging  of  black-and-white  and 
natural  color  film — even  when  film  in  magazine  is  only 
partially  exposed.  Finest  F  2.7  Taylor-Hobson  Cooke 
lens — produced  by  the  makers  of  Hollywood's  most 
popular  lenses.  Features  include  both  spyglass  and 
waist-level  viewfinders,  speeds  of  l6  and  24  trames 
per  second,  and  single-frame  device  for  animation 
work.  Easy  to  carry,  easy  to  use.  Only  $85. 
With  F  1.5  focusing  mount  lens,  $139. 


New  Filmo  Library  Releases 

When  a  Man's  a  Man.  An  eight-reel 
sound  film  presentation  of  the 
Harold  Bell  Wright  story,  star- 
ring George  O'Brien. 

Robinson  Crusoe. The  familiar  story 
told  for  children  in  a  three-reel 
sound  film. 


Pi, 


ease  . 


f 
f 
f 

I  /V, 


„'"°'ectors, 


P""  S  mm 


"'OS  mm. 


ELL  &  HOWELL 


American  Cinematographer 
Amateur  Movies  Section 


P  R  K  5ik  K  N  T  I  N  O  .  . 


A  i>«iip4'rli  iiiNi  1*111114^11  i 

ill  lit  mm.  N4»iiii«l  |iiM»- 
i<^4*ii«»ii  IN  iM^silixocl 


lieaiMiifi;  to  seeing,  l(i 
niiTi.  sliowiiifi's  take  on  new  life, 
new  fascination. 

J)o  it  so  well  tliat  tlie  audience  i.-« 
kept  completely  unaware  of  the 
mechanism,  and  the  illusion  of  real- 
ity becomes  complete.  Tliis  is  the 
achievement  of  Sound  Kodasc()])e 
Special — the  finest  1(5  mm.  sound 
projector. 

The  men  who  created  Sound 
Kodascoj>e  Special  were  told  to 
produce  the  finest  possible  Ki  mm. 
sound  projector,  regardless  of  cost. 
The  highest  excellence  was  their 
sole  consideration.  Radically  dif- 
ferent, totally  new  is  the  result  of 
their  work. 


C^ERTAIXLY  you  will  want  to  see  and  hear  this  remarkable  pro- 
jector at  the  earliest  opportunity.  Your  dealer  may  already  have 
Sound  Kodascope  Special  to  show  you.  But  if  not.  drop  a  line 
to  the  Eastman  Kodak  Company,  Rochester,  X.  Y.  Literature  will 
be  sent  to  you  at  once  and  information  concerning  the  address  of 
the  nearest  Cine-Kodak  dealer  ready  to  exhibit  the  perfection  in 
16  mm.  sound  projection  represented  by  Sound  Kodascope  Special. 


4 


Lt/t— Compare  the  size  of  Sound  Kodascope  Special  to  thai  of  the 
I600-ft.  reeU.  Compactness  is  but  one  of  the  many  advantages  of  this 
entirely  new-desigrn  16  mm.  sound  projector. 


EASTMAX  KODAK  COMPANY,  IIOCHESTER,  ]\.  Y. 


March,  1938    •    American  Cinematographer  113 


AMATEUR  MOVIE 

SECTION 


Contents.... 


SOCIETY 

OF  AMATEUR 

CINEMATOGRAPHERS 


BOARD  OF  REVIEW 

Victor  Milner,  President,  A.S.C.,  Director 
of  Photography  Paramount  Studios,  Acad- 
emy Award  Winner  1935 

Karl  Struss,  A.S.C.,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award 
Winner  1928 

Fred  W.  Jackman,  Treasurer  American  So- 
ciety of  Cinematographers 

Dan  Clark,  A.S.C.,  Director  of  Photog- 
raphy Twentieth  Century-Fox 

Tony  Gaudio,  A.S.C.,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 
Award  Winner  1937 


To  the  Ships  of  Sydney  titles  114 

Summer  Can't  Be  Far  Away  115 

By  George  Blaisdell 

Leica   suggests   gunstock   in    place  of 
tripod   117 

Expert  describes  General  Electric's  new 

meter   118 

By  F.  C.  Bobier 

Academy  Awards  Technical  Honors.  . .  .120 

Notes  of  the  Movie  Clubs  121 

High  school  productions  in  Littles'  Ninth 
Annual  Party  124 

Bausch  &  Lomb's  Metrogon  lens  triples 
field  in  the  air  124 

Amateurs   have   speedy   film    like  the 

professionals   125 

By  Ned  Van  Buren,  A.S.C. 

Story  of  the  making  of  "Solar  Pelexus," 
award     winner    of  International 

Contest   128 

By  Harry  French  and  Mel  Wesleder 

American  amateur  honored  in  Canada.  .131 

'Trick  Photography'  Issued  by  American 
Publishing   131 


114     American  CiNEMATOGUAPHEit    •    March,  1938 


^0 

ttie 

flips! 
of 


Produced 
by 

fames;  a, 
fjerlocfe 


— Example  of 
titles  used  in  1937 
grand  winner  ivitk 
related  stills 


tK:f)isi  ti)t  Win  anb 
Cegtament  of  a  ^f)tp 
Hober,  bequeathing  tf)e 
gafe,  peaceful  ?|ab?n, 
:^pbnep  JIarbour,  to 
tt)e  manp  Craft  tfjat 
uge  its;  fcoaterg. 


^0  all  ferrp  boats!,  3 
leabe  ttje  tftrill  of  a 
fogsp  morning  fol 
lobjeb  bp  tbe  quiet  of 
gun  gplasfjeb  bapji. 


Wo  tbe  budp  tlTugg,  3 
leabe  tbe  companp  of 
boats!  from  bigtant 
sieas!  toitb  tfteir  allure 
of  tfje  unfenotDn. 


Wo  s!bips  tljat  gail  tfie 
^eben  ^eas!,  3  be= 
queatl)  tbe  inbus!trp 
of  JPatrramatta  B.iber 
togetber  tuitb  it^ 
Bocfeparbs!. 


March,  1938    •    American  Cinematographer  115 

Summer  Can  t  Be  Far  Away 

By  GEORGE  BLAISDELL 


WE  HAVE  been  privileged  to 
examine  "Pictorial  America,"  a 
sixty-page  book  of  photographs 
published  by  Dr.  Ernst  Schwarz,  presi- 
dent of  Agfa  Ansco  Corporation  of 
Binghamton,  N.  Y.  The  book  is  superbly 
printed — and  its  abounding  quality  not 
only  in  a  selective  and  scenic  sense  but 
dominatingly  in  a  photographic  way  de- 
manded that  the  publication  receive  just 
that  sort  of  craftsmanlike  attention. 

The  book  is  1H4  by  13  inches  in  size, 
is  wire  bound,  and  is  printed  on  sturdy 
paper.  Under  "Technical  Information" 
are  listed  data  pertaining  to  each  of  the 
threescore  subjects,  ranging  in  size  in 
two  instances  to  a  spread.  All  of  the 
negatives  were  exposed  either  in  a  Leica 
or  a  Contax,  which  means  approximately 
200  magnifications  in  the  case  of  spreads. 

"It  goes  without  saying  that  all  were 
taken  on  Agfa  film  and  enlarged  on 
Agfa  paper,"  comments  Doctor  Schwarz 
in  his  foreword.  "The  enlargements  in  all 
cases  were  direct  from  the  original 
miniature  negative  with  no  negative  re- 
touching of  any  sort.  However,  as  you 
will  notice,  several  types  of  Agfa  film 
were  used,  as  well  as  several  cameras 
and  lenses;  each  for  a  different  purpose, 
in  order  to  achieve  a  desired  eff'ect." 

Professionals  as  well  as  amateurs  will 
be  interested  in  a  study  of  the  data  of 
each  picture  as  the  subject  itself  is 
examined.  One  particular  the  doctor 
omitted  to  set  forth — the  time — but  prob- 
ably took  it  for  granted  that  those  who 
examined  the  book  would  do  so  with  a 
realization  the  pictures  were  exposed 
while  the  photographer  was  on  the  move 
and  necessarily  took  the  sun  as  he  found 
it. 

*       *  * 

Although  it  is  not  so  stated,  undoubt- 
edly the  pictures  were  photographed 
while  the  doctor  was  on  a  trip  across 
country  during  1937.  They  constitute  a 
partial  but  vivid  record  of  the  impres- 
sions that  crowded  on  him  during  the 
journey,  of  "the  outstanding  beauty  on 
every  side." 

While  it  was  not  his  intention  to  put 
into  book  form  a  partial  pictorial  story 
of  his  trip  nevertheless  the  doctor  re- 
sponded to  the  pleas  of  those  who  sought 
copies  and  suggested  the  publication  of 
them.  That  the  photogi-apher  considers 
himself  an  amateur  and  not  a  pro- 
fessional is  set  forth  in  the  opening  lines 
of  his  four  hundred  word  comment: 

"The  photographs  in  this  book  are  in 
the  true  sense  reflections  of  an  amateur 
photographer's  impressions  of  the  United 
States.  Although  as  president  of  the 
Agfa  Ansco  Corporation  I  am  connected 
with  the  manufacture  of  all  types  of 
photographic  materials,  picture  taking  is 
my  hobby  and  has  been  for  many  years. 


From  it  I  have  gained  not  only  limitless 
pleasure  but  relaxation  from  business 
as  well. 

"Consequently  my  approach  to  pho- 
tography has  been  a  personal  cne  .  .  . 
for  the  joy  and  satisfaction  it  gives,  for 
the  outlet  of  creative  instinct  .  .  .  and 
therefore  is  the  same  approach  as  that 
of  thousands  of  other  amateurs." 

The  advertising  of  major  industrial 


concerns  usually  is  characterized  by  some 
outstanding  factor.  One  of  the  outstand- 
ing factors  in  Agfa  advertising  is  the 
quality  of  its  stills — the  literally  quality, 
the  quality  that  makes  almost  vocal  the 
thought  in  the  mind  of  the  photographer 
when  he  exposed  the  negative. 

Inevitably  those  who  are  permitted  to 
enjoy  the  privately  distributed  "Pictorial 
America"  will  sense  one  source  of  the 


Johyi,  W .  Boyle,  past  president  A.S.  C,  left,  cniiglit  with  Randall  Terreneau  as  the 
former  was  showing  the  managing  director  of  the  George  Humphries  Laboratory 
of  London  about  the  A.  S.  C.  clubhouse.  Mr.  Terreneau  is  in  Holiyivood  on  his 
regular  three  months'  visit  each  winter.  He  finds  here  many  A.S.  C.  men  ivith  whom 
he  is  acquainted  through  contacts  in  London. 

Detached  and  enlarged  from  group  picture  by  Paul  Seitzinger. 


116     American  Cinematographer    •    March,  1938 


underlying  artistry  that  marks  the  Bing- 
hamton  company's  public  announcements. 
T 

WE  LEARN  with  regret  that  after 
a  year  and  a  half  of  publication 
The  Photographic  Digest  will 
suspend  for  the  present,  the  January 
number  having  been  the  last.  The  action 
was  ascribed  to  conditions  in  the  publish- 
ing field  and  the  flood  of  magazines 
springing  up  on  every  side.  We  hope  it 
will  not  be  long  before  George  W.  Hesse, 
who  so  capably  and  interestingly  edited 
the  Digest,  again  resumes  issue  of  what 
appealed  to  us  as  one  of  the  more  inter- 
esting of  the  publications  coming  to  this 
desk. 

T 

1AST  spring  this  magazine  was  the 
first  publication  to  send  across  the 
world  the  news  that  an  amateur 
photographer  and  his  wife  had  visited 
Africa  and  brought  home  a  collection  of 
35mm.  film  that  in  its  cutting  and  edit- 
ing had  resulted  in  a  theatrical  product. 
The  photographers  were  Mr.  and  Mrs. 
Harry  C.  Pearson  of  Los  Angeles  and 
Chicago.  The  editor  was  Hal  Hall, 
former  editor  of  this  magazine. 

On  the  afternoon  of  March  25  "African 
Holiday"  will  open  for  a  run  at  the 
Grand  Theater  in  Los  Angeles.  It  is  not 
the  picture's  first  public  showing  in  this 
territory,  the  initial  performance  hav- 
ing been  under  the  auspices  of  the 
Pacific  Geographic  Society  in  the  great 
Shrine  Auditorium  last  fall. 

After  seeing  "African  Holiday"  last 
spring  the  editor  of  this  magazine  with 
a  full  realization  of  what  he  was  saying, 
a  realization  born  of  many  years'  re- 
viewing experience,  declared: 

"To  the  regular  followers  of  the  screen 
as  well  as  to  the  millions  of  just  casual 
customers  and  even  the  non-cinemagoei  s 
the  picture  will  possess  rare  interest.  It 
will  stand  on  its  own  merit  in  any  dual 
program  into  which  an  exhibitor  may 
chose  to  shove  it — with  an  excellent  op- 
portunity, in  showman's  language,  of 
'hogging  the  show'." 

Incidentally  when  shown  in  Los  An- 
geles the  picture  will  not  be  a  part  of 
a  dual  performance.  It  will  be  a  single 
feature. 

Locally  the  picture  has  received  the 
approval  of  the  school  authorities  in  a 
marked  degree.  Also  it  may  be  of  interest 
to  note  what  has  been  said  by  the  motion 
picture  reviewing  chairman  of  the 
Parent-Teachers'  organization  in  Los 
Angeles: 

"Unusual  in  subject  matter,  well  photo- 
graphed, excellently  edited  and  with 
pleasing  narration,  this  pictorial  record 
of  a  trek  through  the  wilds  of  Africa  is 
extremely  interesting  for  all  ages.  A  rare 
combination  of  entertainment  and  edu- 
cation, it  presents  absorbing  scenes  of 
the  life  of  the  native  tribes;  of  unique 
tribal  ceremonies  and  rare  animal  life 
previously  unphotographed.  Since  all 
scenes  presented  are  real  and  not  staged 
the  picture  is  especially  valuable  for 
school  children." 

Practically  all  parts  of  the  country  are 
set  for  theatrical  exhibition  of  "African 


Holiday"  except  the  Central  West,  and 
that  is  expected  to  be  completed  by  the 
fir.st  of  April.  In  the  United  Kingdom, 
a  territory  already  sold,  marked  success 
is  indicated. 

▼ 

THE  February  issue  of  Home 
Movies  and  Home  Talkies,  the 
excellent  amateur  medium  pub- 
lished in  Southampton  Street,  Strand, 
W.  C.  2,  London,  now  in  its  sixth 
volume,  contains  an  article  describing 
how  Vernon  Freedland  interviewed  sev- 
eral professionals  in  the  pursuit  of  cine 
magazine  making,  i.  e.,  news  weekly  for 
short. 

One  of  those  who  talked  was  Fred 
Watts,  for  nineteen  years  with  Pathe 
Pictures  and  now  editor  and  production 
manager  of  the  Pathe  Pictorial  and  the 
Pathetone  Weekly.  Watts  had  just  spent 
six  hours  in  following  amateur  films  in 
an  exhibition  at  the  Royal  Photographic 
Society's  headquarters.  He  was  primed 
to  make  comparisons  between  the  work 
of  the  amateur  and  the  professional. 

He  suggested  that  by  reason  of  its 
variety  the  magazine  film,  with  a  tech- 
nique of  its  own,  is  particularly  well 
suited  to  amateurs.  He  added  there  is  a 
great  deal  to  be  said  in  favor  of  their 
mastering  this  kind  of  work  as  a  prepa- 
ration for  full-length  plays. 

"The  cinemagazine,"  he  pointed  out, 
"because  it  is  made  up  of  short  sequences 
depicting  many  unrelated  subjects,  is 
well  within  the  powers  of  the  lone 
worker.  It  enables  him  to  build  up  vari- 
ous items  filmed  at  odd  times  into  an 
entertaining  feature  of  his  evening's 
program  and  at  the  same  time  he  will 
obtain  plenty  of  practice  in  the  elements 
of  film  production  which  will  be  useful 
when  he  attempts  work  on  a  more  sus- 
tained scale." 

*       *  * 

In  its  thousand  feet  of  film  the  Pathe- 
tone weekly  contains  eight  or  twelve  and 
sometimes  as  many  as  fifteen  items.  The 
Pathe  man  stresses  the  urgency  of  liveli- 
ness of  presentation.  "And  we  avoid 
dwelling  too  long  on  each  shot,"  he  goes 
on.  "If  I  have  one  criticism  to  make  of 
the  amateur  it  is  that  he  does  not  get 
enough  angles  for  his  shooting."  He  sug- 
gests the  viewpoint  be  changed  several 
times. 

Mr.  Watts  points  out  that  in  titling 
the  average  amateur  is  badly  lacking. 
"A  bright  caption  puts  an  audience  in 
a  receptive  mood  right  at  the  outset,"  he 
declares,  and  adds  there  is  too  much  on 
the  lines  of  "We  went  for  an  interesting 
walk." 

Since  he  began  to  produce  these  films 
the  Pathe  man  has  dealt  with  something 
like  20,000  separate  items.  He  concludes 
the  amateur  is  in  quite  as  good  a  posi- 
tion as  the  professional  for  compiling 
an  interesting  magazine  film. 

Sherwin  Green,  director  of  the  Ace 
Cinemagazine,  says  it  is  his  rule  never 
to  shoot  more  than  40  feet  of  35mm. 
film  from  one  camera  angle.  "And  we 
find  this  always  proves  a  sound  working 
regulation,"  he  adds.  Incidentally,  for  the 
benefit  of  those  who  deal  in  8mm.  and 


IGmm.,  40  feet  of  35mm.  film  means  a 
little  under  27  seconds  to  project  if  at 
the  rate  of  90  feet  a  minute. 

T 

THE  Royal  Photographic  Society, 
with  a  mounting  membership  now 
at  2500,  will  move  its  headquarters 
in  London  to  Princess  Gate  during  the 
coming  summer.  The  lease  on  its  pre.sent 
quarters  expires  in  1939,  at  which  time 
the  building  will  make  way  for  the  exten- 
sion to  London  University.  A  statement 
that  will  arouse  particular  interest  in 
the  United  States  is  that  the  Royal 
Photographic  Society  will  be  eighty-five 
years  old  during  the  summer — a  long  life 
indeed  and  a  rich  one. 

It  is  understandable  why  photography 
is  taken  so  seriously  in  Great  Britain — 
and  also  why  there  is  every  reason  to 
believe  the  officials  of  the  society  will  be 
successful  in  attaining  their  goal  of 
fifty  thousand  pounds  sterling  in  order 
that  the  new  home  not  only  may  be 
secured  but  that  it  may  be  recreated  to 
conform  to  the  needs  of  the  society  and 
owned  outright. 

T 

JACK  GUERIN,  for  many  years  a 
film  laboratory  technician  in  Holly- 
wood, has  retired  from  International 
Cinema  to  take  over  the  technical  depart- 
ment for  Gevaert  Film  on  the  West 
Coast.  His  work  will  be  entirely  on  the 
professional  cine  side,  in  other  words  on 
35mm  film.  He  is  now  in  Antwerp,  visit- 
ing the  factories  of  the  Gevaert  company 
and  getting  in  closer  touch  with  the 
matters  that  will  be  presented  for  his 
consideration  when  he  enters  actively  on 
his  new  work.  His  return  is  expected 
some  time  in  April. 

Jack  Guerin  is  one  of  the  foremost 
commercial  laboratory  men  in  Holly- 
wood. In  the  course  of  the  years  in  which 
he  has  been  affiliated  with  the  Bennett, 
Consolidated  and  International  he  has 
made  a  host  of  friends — and  it  is  taking 
no  chances  in  saying  that  for  him  all 
of  these  heartily  will  wish  him  the  best. 
T 

THE  applause  that  greeted  the 
showings  of  the  winners  of  the 
Cinematographer's  1937  interna- 
tional contest  before  movie  clubs  was 
even  exceeded  by  that  which  was  be- 
stowed on  the  films  by  the  members  of 
the  A.S.C.  when  the  amateur  pictures 
were  displayed  at  the  February  open 
meeting  of  the  society.  The  explanation 
very  probably  lies  in  the  fact  that  none 
knows  better  than  the  professional  the 
amount  of  training  and  experience  that 
is  required  skillfully  to  accomplish  what 
so  many  amateurs  lightheartedly  set  out 
to  do.  Certainly  the  hearty  applause 
would  have  wanned  the  hearts  of  the 
amateurs  who  produced  the  pictures. 
These  were  "Mount  Zao,"  "To  the  Ships 
of  Sydney,"  "Garden  Life"  and  "Little 
Sherlock." 

T 

THE  deep  sympathy  of  his  fellow- 
members  and  many  friends  goes 
to  Alfred  Gilks,  A.S.C,  in  the 
death  of  his  father,  George  A.  Gilks,  who 
passed  away  after  a  brief  illness  Feb.  9. 


March,  1938    •    American  Cinematographer  117 


Doctor  Brock  of  Staten  Island  Cinema  Club  is  handed  First  Prize  Trophy  in  the 
1938  Interclub  Contest  held  by  the  Metropolitan  Motion  Picture  Club  of  New 
York.  Charles  J.  Carbonaro,  president  of  Metropolitan,  producer  of  "Little  Sher- 
lock," in  the  Cinematographer' s  1937  contest  winner  of  Victor's  Animator/raph  for 
the  most  interesting  lighting  effect,  is  shown  on  the  right. 


Lcica  Gets  Away  from  Tripod  by 
Employing  Gunstock  for  Platform 


FOR  the  sportsman,  naturalist  and 
newsman  who  finds  frequent  use  for 
a  compact  outfit  enabling  him  to  use  a 
long-  focus  lens  on  his  Leica  camera  with- 
out the  necessity  of  employing  a  tripod 
the  new  Leica  gun  fills  a  long-felt  need. 
This  gun,  making  use  of  the  Leitz  200mm 
Telyt  lens,  has  several  novel  features 
which  make  it  a  most  advanced  camera 
gun. 

It  is  not  simply  an  arrangement  for 
holding-  a  camera  on  a  gun  stock  but  is 
a  completely  designed  unit,  making  of  it 
a  true  camera  gun.  Focusing  is  accom- 
plished on  the  ground  glass  of  the  mirror 
reflex  housing,  the  image,  corrected  hori- 
zontally and  vertically  by  a  second 
mirror,  being  led  back  to  the  eye  by 
means  of  the  telescopic  sight  so  that  it 
is  right  side  up  and  correct  as  to  right 
and  left.  The  lens  is  focused  as  usual  by 
means  of  the  lens  barrel. 

The  rifle  stock  has  a  pistol  grip  and 
two  triggers  are  arranged  in  a  natural 
position  for  the  fingers.  The  forward 
trigger  releases  the  shutter,  thus  making 
the  exposure,  while  the  rear  trigger, 
which  is  connected  to  the  camera  take 
up  by  means  of  a  rachet,  winds  the 
shutter  and  brings  a  fresh  section  of 
film  into  position. 

Thus,  the  gun  is  rapid  action,  ex- 
posures being  made  as  fast  as  it  is 
possible  to  pull  the  triggers.  The  hands 


do  not  leave  the  natural  position  on  the 
gun  at  any  time,  the  left  hand  being- 
used  for  focusing  the  lens  in  the  normal 
manner  while  the  right  hand  makes  the 
exposure  and  rewinds  the  shutter.  The 
gun  weighs  8%  pounds,  which  enables 


it  to  be  held  steadily  at  shoulder  level. 
For  reloading  the  camera  the  gun  is 
easily  and  quickly  disassembled  by  means 
of  two  knurled  screws.  When  these  are 
released  the  entire  assembly,  consisting 
of  lens,  camera,  reflex  housing,  and  view- 
finder,  comes  off^  the  gun  stock  in  one 
unit.  To  remove  the  cable  release  from 
the  gun  stock  it  is  only  necessary  to 
disengage  the  lever  which  holds  it  in 
place  above  the  forward  trigger. 

A  special  baseplate,  which  has  a  pin 
fitted  through  it,  is  fitted  on  the  camera 
enabling-  the  camera  take-up  to  be 
coupled  with  the  trigger  winder  incor- 
porated in  the  gun  stock.  The  special 
baseplate  is  removed  from  the  camera 
in  the  normal  manner. 


THERE  were  various  wise  men  of 
the  East  and  of  the  West  and  of 
the  Middle  West,  too,  for  that 
matter,  who  were  quite  volubly  and  even 
vociferously  and  possibly  profanely  cer- 
tain Walt  Disney  was  just  plain  goofey 
when  he  spent  a  million  and  a  half  on 
an  elongated  cartoon  about  a  girl  and 
seven  midgets.  In  one  theater  in  New 
York  in  a  five-week  run  the  lowest  "take" 
for  one  week  was  $101,000 — and  that 
was  the  fourth.  The  third  was  $111,000. 
Against  the  million  and  a  half  reputed 
cost  the  box  office  report  for  the  five 
weeks  was  in  excess  of  one  third  of  its 
cost — $527,500.  Another  and  important 
part  of  the  story  is  that  "Snow  White 
and  the  Seven  Dwarfs"  had  to  "move 
the  boat"  because  of  the  theater's  prior 
commitment  for  the  date. 

It  is  quite  understandable  that  some 
of  the  aforesaid  wise  men — and  some  of 
them  of  the  West — are  still  in  bed  with 
a  bad  headache,  the  result  of  the  severe 
jolt  administered  to  what  they  think  they 
think  is  their  self-esteen,  their  capacity 
for  judging-  the  public  pulse.  And  there 
still  are  those  who  will  insist  a  creator 
cannot  be  expected  to  know  anything 
about  business. 


II 


Leica's  gunstock  device  for  avoiding  use  of  tripod 


118     American  Cinematographer    •    March,  1938 


Figui-e  1 


General  Electric' s 
'New  Exposure  Meter 
For  Better  Pictures' 
Described  by  Expert 

By  F.  C.  Bobier,  Meter  Department,  General  Electric  Company, 
Schenectady,  N.  Y. 


IN  the  design  of  an  exposure  meter 
that  will  be  of  real  value  to  both 
professional  and  amateur  photogra- 
phers particular  attention  must  be  paid 
to  making  the  instrument  easy  to  use, 
accurate,  and  able  to  withstand  the 
handling  that  can  reasonably  be  expected 
in  service.  , 

In  any  instrument  the  factor  of  ac- 
curacy, and  the  ability  to  retain  it,  is  im- 
portant; but  an  instrument  such  as  an 
exposure  meter  must  have  other  features 
if  adequately  it  is  to  fill  the  need  for 
which  it  is  intended. 

With  this  idea  in  mind.  General  Elec- 
tric engineers  set  to  work  to  design  an 
exposure  meter  that  would  be  suitable 
for  either  still  or  movie  photography 
over  the  entire  desired  light  range;  ac- 
curate enough  for  use  with  color  film  as 
well  as  black  and  white;  and  that  would 
retain  its  accuracy  throughout  the  life  of 
the  instrument. 


The  result  of  their  work,  the  new  Gen- 
eral Electric  exposure  meter,  is  an  un- 
usually accurate,  compact  instrument 
(Figure  1)  which  can  be  used  in  a  wide 
variety  of  ways  that  will  assure  pho- 
tographers and  camera  fans  of  better 
pictui'es. 

Wide  Range 

In  Figure  2  the  instrument  is  shown 
with  its  inclosing  hood  extended  with  the 
slotted  cover  closed.  When  used  in  this 
manner  the  exposure  value  is  determined 
by  pointing  the  instrument  at  the  scene 
to  be  photographed. 

With  the  slotted  cover  in  the  position 
shown  the  instrument  has  a  range  of 
zero  to  7.50  foot-candles  of  light  reflected 
from  the  subject — high  enough  for  out- 
door use  in  bright  sunlight. 

When  the  light  reflected  from  the  sub- 
ject falls  below  75  foot-candles,  however, 
increased  accuracy  of  reading  may  be 


Figure  2 

obtained  by  opening  the  slotted  cover,  as 
shown  in  Figure  3.  When  used  in  this 
fashion  the  whole  length  of  the  scale 
is  available  for  reading  from  zero  to 
75  foot-candles  of  reflected  light.  This 
gives  excellent  accuracy  where  the  illu- 
mination is  of  only  medium  intensity. 

Where  the  level  of  illumination  is  very 
low,  even  further  accuracy  of  readings 
can  be  obtained  by  removing  the  hood 
from  the  instrument  entirely.  The  in- 
strument is  now  a  light  meter  or  foot- 
candle  meter  and  can  be  used  to  measure 
the  light  striking  the  subject. 

After  a  reading  is  obtained  in  this 
manner  on  the  zero-to-75  scale,  the  ex- 
posure time  is  determined  from  the  cal- 
culator and  the  camera  set  for  10  times 
this  value.  The  high  sensitivity  of  the 
instrument  with  the  hood  removed  is  one 
of  its  outstanding  advantages,  as  it  per- 
mits the  taking  of  excellent  pictures 
under  the  poorest  of  indoor  illumination 
conditions. 

Many  Purposes 

Since  it  becomes  a  light  meter  when 
used  with  the  hood  removed  and  reads 
illumination  directly  in  foot-candles,  the 
exposure  meter  can  be  used  for  many 
other  purposes  besides  determining  the 
proper  exposure  value. 

In  the  dark  room  it  helps  the  amateur 
measure  the  illumination  on  pictures 
that  are  being  enlarged  and  calculate 
the  correct  enlarging  time.  Print  mak- 
ing is  greatly  simplified  by  measuring 
the  transmission  factors  of  negatives. 

The  exposure  meter  is  very  useful  in 
comparing  the  densities  of  various  por- 
tions of  negatives.  This  is  accomplished 
by  masking  the  light  cell  with  a  piece  of 
opaque  material,  such  as  cardboard, 
with  a  small  hole  cut  in  it. 

Although  outside  the  field  of  photog- 


March,  1938    •    American  Cinbmatographer  119 


Figure  3 


Held  in  palm  of  hand,  front  vietv,  cover  open. 


raphy,  another  valuable  use  of  the  ex- 
posure meter  is  its  use  to  check  the  light- 
ing in  the  home,  school  or  office.  Fre- 
quently a  check  on  the  lighting  in  a  room 
will  lead  to  increasing  the  illumination 
to  eliminate  eyestrain. 

Considering  the  design  features  which 
make  the  exposure  meter  so  versatile  an 
instrument,  the  most  important  part  is 
the  light  sensitive  cell.  This  cell  has  a 
high  output  and  permanent  character- 
istics unless  heated  above  122  degrees 
F.  Since  this  condition  is  not  likely  to 
be  encountered  in  service,  the  cell  will 
remain  unchanged  throughout  the  life  of 
the  instrument. 

Sturdy  Build 

When  light  strikes  the  surface  of  the 
cell,  an  electrical  potential,  or  voltage, 
across  the  terminals  is  generated.  An 
electric  instrument  of  sufficient  sensitiv- 
ity connected  across  these  terminals  gives 
a  correct  reading  of  the  intensity  of  the 
light  striking  the  cell. 

While  electric  instruments  cannot  be 
subjected  to  severe  shocks  without  the 
possibility  of  damage,  the  high  output 
of  the  G-E  cell,  the  powerful  magnet 
used  on  the  instrument,  and  the  ex- 
tremely light  armature  result  in  an  ex- 
posure meter  that  is  able  to  withstand 
considerable  abu.se  without  failure. 

The  sliding  hood  on  the  meter  has  been 
designed  to  give  the  best  possible  direc- 
tional qualities.  Careful  consideration 
has  been  given  to  limiting  the  light  strik- 
ing the  cell  so  that  correct  exposure  is 
obtained  for  either  still  or  movie  cam- 
eras. Strong  overhead  light  from  the 
sky,  unwanted  side  light,  and  strong  re- 


flected light  such  as  from  snow^ — all  are 
excluded  sufficiently  so  that  minimum  of 
judgment  is  needed  for  taking  difficult 
shots.  Usually  it  is  only  necessary  to 
point  the  instrument  at  a  scene,  read  it, 
set  the  camera,  and  take  the  picture. 
Hinged  Cover 
Use  of  a  hinged,  slotted  cover  on  the 
hood  keeps  the  light  striking  the  cell 
to  a  low  value  even  when  the  instrument 
is  reading  its  highest  value.  This  is  im- 
portant because  photoelectric  cells  give 
better  performance  at  low  light  intensi- 
ties. 

The  cover  also  eliminates  the  need  for 
push  button  shunts  which  would  intro- 
duce serious  errors  with  temperature 
changes. 

The  direct  reading  scale  is  an  addi- 
tional feature  which  makes  the  instru- 
ment handy  to  use  with  a  film  speed  of 
16.  It  reads  directly  in  apertures  for 
various  exposure  times  making  resort 
to  the  calculator  unnecessary.  Its  use 
can  be  extended  to  other  film  speeds  by 
one  simple,  mental  calculation. 

The  calculator  on  the  front  of  the  in- 
strument hood,  consisting  of  one  fixed 
and  one  movable  dial,  is  extremely  sim- 
ple to  operate  and  is  laid  out  so  that  it 
is  equally  usable  for  movies  or  stills.  For 
motion  picture  work  this  film  speed  is  set 
opposite  the  shutter  speed  of  the  camera. 
This  setting  remains  fixed  unless  a  dif- 
ferent film  speed  or  different  shutter 
speed  is  used. 

In  taking  stills,  either  the  desired  ex- 
posure time  is  set  opposite  the  film  speed, 
f  values  being  obtained  opposite  the 
meter  reading,  or  the  f  value  is  selected 


and  set  opposite  the  meter  reading.  The 
exposure  time  is  then  read  opposite  film 
speed. 


Leica  Winners  Named 

After  64,000  persons  had  crowded  in 
to  see  the  Fourth  International  Leica 
Exhibit,  during  its  sixteen  days  showing 
in  New  York,  twelve  prize-winning 
photographs,  selected  by  a  group  of 
judges  and  by  public  voting,  were  an- 
nounced. The  judges  selected  nine  pic- 
tures, three  from  each  class  (profes- 
sional, amateur,  and  press),  while  the 
public  voted  on  the  three  best  in  the 
entii'e  show. 

In  the  public  selection  group  first  prize 
was  awarded  to  Fred  Davis  of  N.E.A. 
Service,  Inc.,  for  a  series  of  pictures  of 
the  Dionne  Quintuplets;  second  prize  to 
Harold  Harvey,  New  York,  for  a  por- 
trait of  Thomas  Chubb,  author  and  book 
reviewer,  and  third  prize  to  Tamis  Mad- 
i!ick,  Los  Angeles,  for  a  picture  of  a 
child  feeding  a  lamb  from  a  bottle. 


Omag  Filters  in  Kit  Form 

The  Chess-United  Company,  Mohawk 
Building,  New  York,  now  has  available 
OMAG  solid-colored  optical  glass  filters 
in  kit  form  to  fit  many  of  the  amateur 
cine  cameras. 

These  kits  are  furnished  with  a  screw- 
in  sunshade  mount,  including  four  filters 
— medium  yellow,  light  panchromatic 
green,  medium  red  and  haze  (ultra-violet 
absorbing)  filters.  The  latter  filter  is 
used  with  Kodachrome  and  other  color 
emulsions  for  retarding  ultra-violet. 


120     American  Cinematographer    •    March,  1938 


Agfa  J  Supreme  and  Ultra  Speed 
Films  Lead  Technicians '  Award 


y^FTER  a  careful  consideration  of  the 
/-%  devices,  developments  and  equip- 
■*■  ments  submitted  for  consideration 
for  recognition  of  scientific  or  technical 
achievement,  the  Board  of  Judpfes,  with 
the  approval  of  the  Academy  of  Awards 
Committee,  has  agreed  that  awards  for 
scientific  or  technical  achievements 
should  be  granted  as  follows: 

AWARD  IN  CLASS  I 

C Academy  Statuette  and  Plaque )  : 

TO:  The  Agfa  Ansco  Corporation  for  its 
Agfa  suprenu'  and  Agfa  ultra  speed 
pan  motion  picture  negativcK. 

The  Agfa  Ansco  Corporation,  in  mak- 
ing available  to  the  motion  picture  in- 
dustry these  two  new  panchromatic  films, 
has  provided  the  production  cameraman 
with  a  means  of  reducing  working  lens 
apertures,  resulting  in  increased  defini- 
tion, and  has  provided  a  tool  to  obtain 
under  adverse  conditions  high  quality 
photographic  results  heretofore  impos- 
sible. 

In  addition  the  use  of  this  film  in- 
creases the  latitude,  the  realism  and 
scope  of  process  projection  work. 

The  development  of  these  two  films 
represents  a  major  achievement  in  re- 
search and  emulsion  manufacture,  re- 
versing what  has  long  been  considered 
an  axiom  by  manufacturers  and  users  of 
film  stock,  namely,  that  an  increase  in 
speed  is  always  associated  with  increased 
grain  size. 

These  two  new  panchromatic  films  re- 
tain to  the  full  extent  the  qualities  of 
panchromatic  emulsions  and  at  the  same 
time  provide  a  much  higher  speed  while 
maintaining  former  grain  quality.  Thus, 
the  Agfa  Ansco  Corporation  has  pro- 
vided the  motion  picture  industry  with  a 
product  which  increases  the  photographic 
quality  of  production  and  tends  to  lower 
lighting  costs. 

AWARDS  IN  CLASS  II  (Plaque ) : 

TO:  The  Wall  Disney  Productions,  Ltd>, 
for  the  design  and  its  application  to 
production  of  its  'Multi-Plane 
Camera, 

The  multi-plane  camera  is  a  develop- 
ment of  the  Walt  Disney  Studios  which 
has  greatly  improved  the  photographic 
quality  and  illusion  of  depth  in  color 
cartoons,  simplified  process  work,  and  is 
believed  to  be  capable  of  extension  to 
process  and  transparency  background 
problems  normally  encountered  in  studio 
production. 

TO:  The  Eastman  Kodak  Company  for 
two  fine-grain  duplicating  film 
Htocks. 

It  has  been  recognized  that  duplicat- 


ing films  of  sufficiently  improved  charac- 
teristics are  of  value  in  protecting 
against  loss  through  damage  to  the  orig- 
inal negative,  as  well  as  for  making  ad- 
ditional complete  copies  of  the  negative 
from  which  release  prints  may  be  made, 
and  for  use  in  optical  printing. 

In  these  two  duplicating  emulsions, 
the  Eastman  Kodak  Company  has  made 
available  duplicating  stock  which  is  an 
improvement  over  any  previously  avail- 
able, permitting  duplication  quality  very 
closely  approaching  that  of  the  original 
and  at  the  same  time  markedly  reducing 
the  effects  of  grain  size  formerly  found 
to  an  objectionable  degree  in  such  dupli- 
cating films. 

TO:  Farciot  Edouart  and  Paramount 
Pictures,  Inc.,  for  their  develop- 
ment of  the  Paramount  Dual  Screen 
Transparency  Camera  Setup. 

The  Paramount  dual  screen  transpar- 
ency camera  unit  consists  of  two  syn- 
chronized photographic  cameras  driven 
by  a  single  motor,  set  up  side  by  side  in 
such  manner  that  adjacent  edges  of  the 
two  fields  of  view  are  coincident  regard- 
less of  distance  (from  the  camera  to  in- 
finity), permitting  close  screen  action 
and  a  screen  area  of  twice  the  width  of 
the  normal  camera  setup. 

This  unit,  by  providing  transparency 
backgrounds  of  twice  the  area  of  a  single 
screen,  has  increased  the  scope  of  process 
background  photography  and  proved  of 
definite  economic  value  in  motion  pic- 
ture production.  It  photographs,  with  ab- 
solute synchronism,  action  taking  place 
across  the  two  screen  areas,  regardless 
of  distance  from  the  camera,  thus  per- 
mitting a  perspective  and  panoramic  ef- 
fect not  otherwise  possible  in  greatly  en- 
larged projected  pictures. 

TO:  Douglas  Shearer  and  the  Metro- 
Goldwyn-Mayer  Sound  Department 
for  a  method  of  varying  the  scan- 
ning width  of  variable  density 
sound  tracks  (Squeeze  Tracks)  for 
the  purpose  of  obtaining  an  in- 
creased amount  of  noise  reduction. 

The  application  of  "squeeze"  to  vari- 
able density  recordings  affords  an  in- 
creased amount  of  noise  reduction  over 
that  available  with  other  current  meth- 
ods, resulting  in  greater  reproduced  vol- 
ume range  in  the  theatre. 

With  this  method,  the  scanning  width 
of  the  variable  density  sound  track  is 
reduced  during  periods  of  normal  low 
modulation  and  accompanied  by  a  corre- 
sponding increase  in  the  percentage  of 
modulation,  often  resulting  in  the  record- 
ing of  a  truer  wave  form. 

The  use  of  this  method  leads  to  an  in- 
creased volume  range  in  the  theatre, 
lending  an  added  color  and  naturalness 
to  certain  types  of  productions. 


AWARDS  IN  CLASS  III 

(Honorable  Mention  in  the  Re- 
port of  the  Bftard  of  Judges)'. 

TO:  John  Arnold  and  the  Metro-(iold- 
wyn-Mayer  Camera  Department  for 
their  improvement  of  the  semi-auto- 
malic  follow  focus  device  and  its 
application  to  all  of  the  cameras 
used  by  the  Metro-Goldwyn-Mayer 
Studios. 

This  device  facilitates  camera  opera- 
tion by  correlating  the  focusing  of  the 
shooting  lens  and  finder  lens  and  simul- 
taneously correcting  for  parallax,  with 
such  precision  that  the  position  and 
sharpness  of  focus  in  the  finder  may  be 
relied  upon  to  indicate  corresponding 
properties  of  the  photographic  image, 
thereby  materially  increasing  the  speed 
and  accuracy  of  production  photogra- 
phy, particularly  in  follow  focus  shots. 

TO:  John  Livadary,  Director  of  .Sound 
Recording  for  Columbia  Pictures 
Corporation,  for  the  application  of 
the  Bi-Planar  Light  V alve  to  motion 
picture  sound  recording. 

The  bi-planar  light  valve  eliminates  a 
serious  form  of  electro-mechanical  dis- 
tortion caused  by  the  striking  together  of 
the  valve  ribbons  during  the  recording  of 
high-amplitude  modulations. 

TO:  Thomas  T.  Moulton  and  the  United 
Artists  Sound  Department  for  the 
application  to  motion  picture  sound 
recording  of  volume  indicators 
which  have  peak  reading  response 
and  linear  decibel  scales. 

This  type  of  volume  indicator  por- 
trays with  greater  accuracy  the  form 
factor  of  an  electrical  wave,  and  per- 
mits extension  of  the  usable  scale  of 
volume  indicating  instruments. 

TO:  The  RCA  Manufacturing  Company, 
Inc.,  for  the  introduction  of  the 
modulated  high-frequency  method 
of  determining  optimum  photo- 
graphic processing  conditions  for 
variable  width  sound  tracks. 

This  is  the  first  available  convenient 
quantitative  method  of  establishing  op- 
timum processing  conditions  of  variable 
width  sound  tracks. 

TO:  Joseph  E.  Robbins  and  Paramount 
Pictures.  Inc.,  for  their  exceptional 
application  of  acoustic  principles  to 
the  sound  proofing  of  gasoline  gen- 
erators and  water  pumps. 

The  application  of  advanced  engineer- 
ing principles  to  the  sound  insulation  of 
generators  and  other  accessory  equip- 
ment has  made  possible  the  operation 
of  these  units  at  high  efficiency,  at  points 
relatively  close  to  the  microphone,  with- 
out noise  interference. 

TO:  Douglas  Shearer  and  the  Metro- 
Goldwyn-Mayer  Sound  Department 
for  the  design  of  the  film  drive 
mechanism  as  incorporated  in  the 
ERPI   1010  Reproducer. 

This  is  an  efficient  means  of  obtain- 
ing a  flutter-free  film  motion  for  use  in 
studio  recording  and  re-recording  opera- 
tions, the  design  of  which  was  completed 
at  Metro-Goldwyn-Mayer  Studios. 


March,  1938    •    American  Cinematographer  121 


Japanese  See  Institute 
Films  on  World  Journey 

Tokyo,  Japan,  January  20,  1938. 

THE  first  projection  of  the  World 
Tour  films,  sponsored  by  the  Insti- 
tiate  of  Amateur  Cinematographers, 
London,  to  be  held  in  the  Far  East  was 
given  tonight  before  three  hundred  mem- 
bers of  the  Sakura  Kogata  Eigo  Kyokai 
(Cherry  Amateur  Movie  Society). 

Winners  in  the  1934  contest  of  the 
Institute,  these  films  have  progressed 
through  Europe  and  the  Middle  East. 
Veterans  of  numerous  projections,  the 
films  are  yet  in  excellent  condition. 
Japanese  amateurs  were  particularly  ap- 
preciative of  "Sister,"  produced  by  K. 
Takeuchi  of  Kyoto,  and  "Memmortigo," 
by  Senor  Delmir  de  Caralt,  of  Barcelona. 

Other  pictures  shown  were  Miss  Ruth 
Stuart's  "To  Egypt  and  Back  with  Im- 
perial Airways,"  Mathew  Nathan's 
"Westminster  in  Winter,"  and  "Ein 
Zommer  Geht  Zu  Ende,"  by  Prof.  Hans 
Figura.  A  vote  of  thanks  was  moved  by 
C.  Acchi,  director  of  Sakura  Kogata  Eiga 
Kyokai,  and  passed  unanimously,  to  the 
Institute  for  its  loan  of  the  films.  Fur- 
ther projections  are  planned  in  Nagoya, 
Osaka,  Kyoto,  and  possibly  Yokohama, 
after  which  the  films  will  be  sent  to 
Australia. 

K.  Tsukamoto,  whose  film  "Mount 
Zao"  has  been  the  photographic  sensa- 
tion of  the  1937  competitions,  ui-ged  the 
members  to  support  a  petition  to  the 
Olympic  Committee  to  include  amateur 
cinematography  in  the  Olympic  art  con- 
test as  a  new  item,  and  nearly  all  signed. 

It  was  announced  the  Sakura  Kogata 
Eiga  Kyokai  would  not  hold  an  inter- 
national competition  in  1938,  but  instead 
would  support  a  competition  to  be  spon- 
sored by  the  Society  for  International 
Cultural  Relations.  Count  Kuroda,  presi- 
dent, specified  that  the  films  were  to  be 
of  educational  and  cultural  value,  in 
black  and  white,  suitable  for  copying  and 
foreign  distribution.  This  contest  will 
end  in  September,  1938. 

FRED  C.  ELLS 

▼ 

Chicago  Cinema  Club 

The  Chicago  Cinema  Club  held  meet- 
ings the  four  Thursdays  of  February, 
the  first  being  the  four  hundred  and 
forty-second — a  record  which  gives  the 


Nearly  seventy  members  of  Minneapolis 
Cine  Club  were  present  at  the  Januari/ 
18  meeting  to  observe  the  group's  second 
anniversary.  The  club  is  composed  of 
both  8mm  and  lUmm  users.  It's  a  mal" 
organization. 
Photo  by  Arthur  S.  Anderson. 


club  a  right  to  the  title  of  the  "oldest 
incoiporated  amateur  movie  club  in  the 
United  States." 

On  the  first  evening  the  session  was 
for  members  only  and  was  featured  by 
a  demonstration  of  tinting  and  toning. 
The  second  meeting  was  devoted  to  ex- 
posure meters  primarily  of  the  photo- 
electric type.  A  representative  of  the 
Weston  electrical  instrument  company 
made  the  talk  of  the  evening. 

The  session  February  17  was  given 
over  to  the  Holiday  Film  Contest  and 
analysis.  Film  lengths  were  restricted 
to  100  feet  on  16mm.  and  50  feet  on 
8mm.  They  were  judged  on  four  divi- 
sions, subject  matter,  composition,  edit- 
ing and  photography,  25  points  maximum 
on  each. 

The  last  meeting  of  the  month  was  a 
demonstration  of  lighting  at  the  Chicago 
Lighting  Institute. 

T 

Philadelphia  Cinema  Club 

The  February  meeting  of  the  Phila- 
delphia Cinema  Club  was  attended  by 
50  members.  Its  principal  speaker  was 
H.  B.  Rockwell  Jr.  of  the  Weston  Elec- 
tric Instrument  Corporation,  who  gave 
an  illustrated  talk  on  the  pi'oper  use  of 
photo-meters.  The  highlights  of  the  talk 
were  of  large  value  to  all  amateur  movie 
makers  and  revolved  around  the  film 
range  of  light  value  as  well  as  the  proper 
method  of  reading  these  values. 


It  was  demonstrated  that  in  terms  of 
light  the  film  range  is  128  to  1.  As  a 
consequence  if  readings  are  taken  from 
the  darkest  shadows  to  the  highlights 
of  any  one  scene  and  the  readings  show 
within  the  range  it  is  possible  to  get 
perfect  exposures,  that  will  cover  the 
shadows  as  well  as  the  highlights. 

It  was  also  demonstrated  that  in  using 
a  photo-meter  with  a  25  degree  angle, 
which  is  approximately  the  same  angle 
as  that  in  a  one-inch  lens,  proper  read- 
ing can  be  obtained  by  the  holding  of 
the  meter  at  twice  the  diameter  of  the 
scene  to  be  taken. 

Presuming  the  average  human  face  is 
approximately  6  inches  across,  the  truest 
reading  can  be  arrived  at  by  holding 
the  meter  at  a  distance  of  12  inches  in 
front  of  the  face.  In  the  same  way,  a 
tree,  the  branches  of  which  spread  25 
feet,  will  show  proper  registration  on 
the  meter,  if  it  is  held  50  feet  from  the 
tree. 

The  club  has  reached  its  full  quota  of 
seventy-five  members,  as  established  by 
its  constitution,  and  the  membership  is 
closed  at  this  time. 

Nominations  for  ofl[icers  to  be  voted 
at  the  March  meeting  are:  For  presi- 
dent, R.  W.  Bugbee,  George  Pittman,  Dr. 
Bowersox;  vice-president,  A.  L.  O.  Rasch, 
J.  W.  Anderson;  secretary-ti'easurer, 
Horace  Wilson,  Frank  Hirst. 

The  second  annual  banquet  of  the  club 
was  held  February  24.  Among  the  films 


122     American  Cinematographer    •    March,  1938 


shown  was  "Idle  Days,"  by  A.  L.  0. 
Rasch.  This  film  won  the  club's  first 
award. 

A  composite  film  entitled  "Guatemala 
Rainbow,"  the  work  of  Messrs.  Crowder 
and  Bugbee  in  color  with  musical  back- 
ground, was  also  presented. 

Through  the  cooperation  of  the  entire 
dealers  trade  in  Philadelphia  there  were 
not  less  than  ten  door  prizes. 

B.  N.  LEVENE, 
Chairman  of  Publications  Committee. 

T 

Bay  Empire  8mm.  Club 

Meeting  on  the  second  and  fourth 
Wednesdays  of  every  month  at  the  home 
of  Dr.  E.  A.  Anderson,  4722  Allendale 
avenue,  the  Bay  Empire  8mm.  Movie 
Club  has  been  organized  in  Oakland,  Cal. 

The  officers  are:  President,  Donovan 
Smith;  secretary-treasurer,  Ronald  Shat- 
tack;    corresponding    secretary,  Glenn 


GREAT  strides  have  been  made  in 
recent  years  in  the  use  of  silent 
and   sound   motion    picture  pro- 
jectors for  classroom  instruction. 

Here  is  a  picture  of  a  class  listening 
to  and  watching  an  educational  talking 
film  projected  by  an  advanced  modern 
16mm.  sound-on-film  projector  capable 
of  turning  out  high  quality  performance 
in  either  small  classrooms  or  large  audi- 
toriums seating  up  to  3000  persons.  Note 
the  intense  interest  shown  by  each  stu- 
dent and  further  that  a  student  is  operat- 
ing the  projector. 

Recently,  representatives  of  the  Ampro 
Corporation  visited  one  of  the  world's 
largest  high  schools  for  the  purpose  of 
photographing  the  new   16mm.  Ampro 


Burks;  board  of  directors.  Dr.  Anderson, 
A.  F.  Becker  and  O.  Rountree. 

The  teiTn  of  office  is  for  one  year  and 
the  Board  of  Directors'  term  is  so  ar- 
ranged there  always  are  two  experienced 
members  on  the  board. 

The  club  is  limited  to  the  users  of 
8mm.  equipment  only.  There  are  thirteen 
charter  members  and  at  this  time  the 
quota  is  twenty. 

GLEN  BURKS, 
Corresponding  Secretary. 
T 

Minneapolis  Cine  Club 

The  Minneapolis  Cine  CAuh  observed 
its  second  birthday  January  18,  when  its 
seventy-six  members  met  for  dinner.  The 
organization  meeting  was  first  held  Jan- 
uary 21,  1936,  when  seventeen  interested 
moviemakers  gathered  in  a  downtown 
projection  loom.  In  two  years  the  mem- 
bership has  increased  fivefold. 

A  special  program  was  presented, 
featuring  8  mm.  and  16  mm.  newsreels. 


sound-on-film  equipment  in  actual  use 
as  an  audio-visual  aid.  They  were  inter- 
ested to  find  Ampro  silent  projectors 
being  used  by  the  classes  that  preceded 
and  followed  the  one  that  they  were 
photographing  and  at  the  same  time 
2000  students  were  attending  the  pres- 
entation of  an  educational  talking 
picture  in  the  large  school  auditorium. 

Unless  one  is  familiar  with  present 
day  teaching  methods  it  is  difficult  to 
appreciate  the  extent  to  which  motion 
pictures,  both  silent  and  talking,  are 
being  utilized  to  increase  the  effective- 
ness of  teaching.  At  no  time  are  motion 
pictures  used  to  supplant  teachers.  They 
supplement  them  and  have  been  amply 
termed  "Visual  Aids  to  Education." 


George  Culbertson's  8  mm.  color  film  of 
ROTC  camp  life  in  Michigan  and  800 
feet  of  hunting  with  bow  and  arrow  in 
Alaska. 

The  Minneapolis  Cine  Club's  bulletin, 
The  Cine  Clubber,  announced  for  the 
program  opener  for  the  February  15 
meeting  the  monthly  16  mm.  newsreel, 
featuring  color  movies  of  the  recent 
Bush  Lake  ski  tourney  and  the  Powder- 
horn  skate,  a  Volga  river  travelog,  after- 
scenes  of  a  tornado  that  hit  the  vicinity 
several  years  ago  and  the  Panay  bomb- 
ing. The  Rev.  Henry  Lewis  would  pre- 
sent a  300-foot  film  covering  the  last 
services  held  in  a  Negro  church  on  what 
is  now  the  site  of  the  new  city  market. 
The  film  also  will  show  step-by-step  con- 
struction of  the  new  church.  A  reel  of 
supersensitive  stock  exposed  inside  of 
the  local  Arena  would  be  screened  to 
show  filming  possibilities  for  those  who 
may  wish  to  shoot  coming  ice  reviews. 

Lawrence  Berglund's  Mexican  color, 
and  Ben  Sroka's  movie  tour  through  the 
national  parks  was  to  close  the  program. 
Both  films  were  fully  edited  and  titled, 
and  the  entire  program  was  to  be  syn- 
chronized to  appropriate  dual  turntable 
sound. 

The  officers  of  the  club  are  Leslie  R. 
Olsen,  president;  Carroll  Davidson,  first 
vice-president;  Stanley  Berglund,  second 
vice-president;  the  Rev.  Henry  Lewis, 
secretaiy;  John  T.  Leffler,  treasurer; 
Ormal  Sprungman,  editor  Cine  Clubber. 
T 

Triangle  Cinema  of  Chicago 

The  Triangle  Cinema  League  of  Chi- 
cago has  elected  officers,  with  Sam  Gold- 
berg, president;  Leo  Brooks,  secretary, 
1528  South  Harding  avenue;  Martin 
Winn,  treasurer,  and  Edwin  Brooks, 
sponsor.  Correspondence  will  be  wel- 
come. 

T 

St.  Louis  Amateur  Club 

Volume  1,  Number  1,  of  the  St.  Louis 
Amateur  Motion  Picture  Club's  Bulletin 
has  been  published.  It  is  printed  on  two 
pages.  The  first  column  on  Page  1  has 
been  dolled  up  with  what  printers  de- 
scribe as  "justified"  lines — i.  e.,  every 
line  is  filled  through  dropping  in  suffici- 
ent double  spaces,  in  one  or  two  or  more 
spots  as  may  be  needed  to  make  it  "end 
even,"  again  employing  the  printer's 
patter. 

For  those  who  have  the  time  and  in- 
clination to  ti*y  out  this  method  it  may 
be  accomplished  by  first  writing  a  col- 
umn, taking  pains  not  to  exceed  the 
maximum  number  of  letters.  Then  with 
a  pencil  make  a  check  mark  in  the  num- 
ber of  spaces  necessary  to  bring  the  right 
hand  letter  of  the  line  flush  to  the  right 
hand  limit. 

Care  should  be  taken  not  to  put  the 
extra  space  after  punctuation  marks,  ex- 
cept in  what  corresponds  to  a  sentence; 
to  put  the  extra  space  between  longer 
rather  than  shorter  words  and  as  a  rule 
make  them  continuous;  to  put  the  head- 


Latetit  Ampro  IG  mm.  sound  on  film  projector 


16mm.  Sound  Projector  in  Action 


March,  1938 


American  Cinematographer  123 


ings  in  the  center  of  the  line — an(i  count 
the  letters,  each  space  between  the  words 
rating  at  least  as  one  letter,  and  in  the 
case  of  a  heading  two  if  you  like.  Then 
all  you  have  to  do  is  rewrite  the  amended 
copy. 

But  perhaps  you  would  rather  let  the 
printer  worry  about  these  things  the 
while  you  stick  to  your  photography. 
Then  of  course  you  might  have  a  printer 
in  your  club.  If  you  think  you  can  make 
him  work  at  his  job  and  not  at  his  hobby 
it  will  do  no  harm  at  least  to  try  it. 

But  the  detail  will  make  a  whale  of 
a  difference  in  your  bulletin. 

The  bulletin  issues  a  call  for  a  perma- 
nent name  of  the  publication.  The  issue 
is  worthwhile,  especially  for  a  first  one, 
containing  drawings  and  fanciful  head- 
ings. 

T 

Paramount  Movie  Club 

The  Paramount  Movie  Club  held  its 
February  meeting  in  Projection  Room  7. 
The  session  fell  on  the  17th  and  was  well 
attended.  The  club  has  a  slogan  that 
calls  for  a  bigger  and  better  club  for 
1938 — and  steps  are  being  taken  to  se- 
cure it. 

The  feature  of  the  evening  was  a  pro- 
gram of  winners  from  the  1937  contest 
of  the  American  Cinematographer — and 
they  made  a  hit,  individually  and  collect- 
ively. 

▼ 

Camera  Club  of  Oranges 

Tempo,  the  bulletin  of  the  Cinema  Club 
of  the  Oranges,  congratulates  William 
Murphy,  its  secretary,  on  the  honorable 
mention  awarded  him  for  "If  Rugs  Could 
Talk"  in  the  1937  Cinematographer 
contest.  Tempo  reprints  the  praise  be- 
stowed upon  the  subject  by  the  maga- 
zine, and  adds: 

"Let  us  have  more  entries  in  next 
year's  contest!" 

That  is  a  motion  the  A.  C.  gang  will 
second — heartily. 

The  annual  competition  of  the  club 
will  be  on  in  a  couple  of  months  as  well 
as  also  the  Fourth  Annual  Guest  Night, 
May  20. 

One  of  the  rather  novel  features  of 
the  night  will  be  a  still  exhibit.  Inci- 
dentally Tempo  sticks  a  pin  in  the  still 
photographers  in  the  membership  to  get 
out  their  prints  and  enlargements. 
T 

Carneal  Wins  Top  Honors 
of  Paramount  Movie  Club 

Wilton  Carneal,  president  of  the  Para- 
mount Amateur  Movie  Club,  was  awarded 
first  prize  in  the  recent  first  annual 
competition  of  that  organization.  The 
Los  Angeles  Cinema  Club,  the  prior  con- 
test of  which  was  judged  by  the  Para- 
mount Club,  reciprocated  in  officiating  at 
the  latter's  contest. 

The  judges  employed  the  points  sys- 
tem, the  winner  being  awarded  on  "The 
Old  South"  91  per  cent.  With  82  per  cent 
George  F.   Seitz,  Jr.,  was  the  second 


James  E.  McGhee,  recently  promoted  to 
be  general  sales  manager  Eastman 
Kodak  Company 


prize  winner  with  "My  First  Experi- 
ence." Bernice  Mosk  with  77  per  cent  was 
third  with  "Fanny  Gets  a  Gun"  and  Tom 
Warde  received  honorable  mention  on 
"Water  Colors  and  Rustic  Fern  Dell." 

In  celebration  of  the  award  there  was 
a  large  dinner  at  McDonnell's  Fairfax 
and  Wilshire,  with  a  showing  afterward 
of  the  winning  films  at  the  Bell  and 
Howell  Auditorium. 

▼ 

Los  Angeles  8mm 

The  February  meeting  of  the  Los  An- 
geles 8mm  Club  was  held  at  the  East- 
man Auditorium  on  February  8  with  a 
full  house.  The  first  issue  of  Thru  the 
Filter,  the  club  magazine,  for  1938  was 
distributed,  and  it  set  a  very  high  stand- 
ard for  the  editor,  Jane  Gay  Davis,  and 
her  assistants  to  maintain  during  this 
year. 

An  excellent  feature  was  the  distribu- 
tion by  the  News  Item  Committee  of  a 
list  of  library  references  which  covers 
almost  every  phase  of  amateur  movie- 
making. In  the  absence  of  Mr.  Horton, 
chairman,  Mr.  Cunningham  of  this  com- 
mittee reviewed  different  tricks  and 
methods  of  making  titles,  reverse  action 
shots,  etc. 

The  thi-ee  films  won  as  door  prizes 
at  our  annual  banquet  last  December 
were  shown  and  with  all  members  pres- 
ent acting  as  judges  Phil  Richards' 
picture,  "Buddy  Learns  to  Walk"  was 
awarded  winning  honors  over  Mr.  Brou- 
illette  and  Mr.  Carpenter.  Several  films 
for  criticism  were  then  shown. 

After  a  short  intermission  two  of  the 
prize  winners  from  the  Cinematographer 
International  Contest  were  shovra  with 


able  musical  accompaniment  by  William 
Stull,  honorary  member.  An  8mm  pic- 
ture, "Fanny  Gets  a  Gun,"  by  Miss  Vera 
Moss  of  the  Paramount  Club,  was  then 
shown.  The  two  contest  winning  films 
were  in  Kodachrome,  one  being  our  own 
John  Walter's  8mm  picture,  "El  Camino 
Real,"  and  the  other  being  in  16mm  en- 
titled "Europa  Touring"  by  Ellis  M. 
Yarnell  and  C.  Y.  Kimball. 

The  meeting  was  adjourned  at  11:30, 
admittedly  a  late  hour,  but  to  those  who 
stayed  to  see  these  pictures  the  officers 
feel  no  apologies  are  due. 

BION  B.  VOGEL,  Secretary. 


Australian  Society 

We  have  received  a  copy  of  the  Janu- 
ary issue  of  Movie  News,  official  organ 
of  the  Australian  Amateur  Cine  Society, 
affiliated  with  the  Institute  of  Amateur 
Cinematographers,  Inc.,  England.  The 
copy  was  forwarded  by  James  A.  Sher- 
lock, the  grand  prize  winner  of  the  1937 
international  contest,  who  is  one  of  the 
vice  presidents  of  the  society  as  well  as 
its  publicity  representative.  The  post 
office  address  of  the  society  is  Box  1463 
JJ,  GPO,  Sydney. 

The  publication  is  printed,  in  contrast 
with  the  mimeograph  issues  so  general 
in  the  United  States,  and  is  in  10  pages 
and  cover  and  5 ¥2  by  SV2  inches  in  size. 
Over  five  of  the  foux-teen  pages  are  in 
advertisements  of  equipment. 

The  annual  Jacobs  Cup  competition 
for  the  best  general  interest  film  of  the 
year  attracted  a  gathering  of  150  per- 
sons. The  ancient  suggestion  that  a 
prophet  is  not  without  honor  except  in 
his  own  country  gets  a  black  eye  in 
Sydney.  Mr.  Sherlock  was  awarded  the 
honors  for  first,  second  and  third  prizes 
out  of  the  seven  subjects  submitted.  The 
winner  had  entered  three  pictures. 


Inter-Club  Contest  of 
Metropolitan  M.P.C. 

The  February  meeting  of  the  Metro- 
politan Motion  Picture  Club  was  fea- 
tured by  the  screening  of  the  three  best 
films  from  the  Inter-Club  Contest  held 
annually  under  the  auspices  of  MMPC. 
Films  were  entered  in  this  contest  by 
clubs  from  Philadelphia,  Sunbury  and 
Harrisbui'g,  Penn.;  East  Orange,  N.  J.; 
Buffalo,  Mount  Kisco  and  Manhattan, 
New  York. 

The  judges  chose  as  best  film  in  the 
contest  "Movie  Bugs,"  a  story  of  an 
enthusiastic  amateur  unpacking  and 
"limbering  up"  a  new  Cine-Kcdak  Spe- 
cial. His  actors  turn  out  to  be  the  tiny 
animalculse  contained  in  a  single  drop 
of  water  and  some  fascinating  scenes 
of  microscopic  action  follow.  This  film 
was  made  by  Dr.  Brock  of  the  Staten 
Island  Cinema  Club. 

Chosen  as  second  best  was  "The  Birth 
of  St.  Mary's,"  a  historical  film  telling 
the  story  of  the  founding  of  a  church 
in  the  New  York  of  the  early  eighteen- 
hundreds.  One  of  two  high  ranking  en- 


124     American  Cinematographer    •    March,  1938 


tries  by  the  Mount  Kisco  Cinemats,  this 
1200  foot  Kodachrome  picture  is  truly 
an  "epic"  among  amateur  films.  The 
fihn  was  directed  and  photographed  by 
Robert  F.  Gowen. 

Third  place  in  the  contest  was  won 
by  "Acadia  in  Maine,"  also  entered  by 
the  Staten  Island  Club.  An  800  foot 
film  of  an  outdoor  vacation  in  which  some 
outstanding  color  photography  was 
achieved,  "Acadia  in  Maine"  was  made 
by  Frank  Gunnell. 

Bob  Coles  and  Charlie  Carbonaro 
officiated  at  the  "mike"  in  a  recent  broad- 
cast on  home  movies  via  station  WNYC. 
Frank  Gunnell  i-eports  that  the  wives 
c.f  New  York  City  are  up  in  arms  over 


THERE  will  be  a  new  class  of  films 
entered  in  the  Duncan  and  Dor- 
othy Littles'  Ninth  Annual  Movie 
Party.  They  have  been  classified  as 
"High  School  Productions."  Two  entries 
have  been  promised  and  there  are  good 
prospects  for  a  third  and  fourth.  While 
hopes  are  strong  for  a  showing  this 
year  that  will  be  satisfactory,  there  is 
every  belief  that  next  year  will  bring  in 
something  worthwhile. 

So  as  not  to  lose  the  unique  social 
phase  of  the  Movie  party  the  Littles 
have  decided  to  hold  the  real  party  as  a 
sort  of  preview  of  Friday,  March  18,  in 
the  same  Salle  des  Artistes  where  it  was 
held  last  year.  Here  their  friends  will 
be  present  to  the  number  of  three  hun- 
dred or  more.  Then  on  the  23rd  the 
program  will  be  a  part  of  the  Columbia 
University  "Motion  Picture  Parade." 

The  jury  to  select  the  films  for  the 
Ninth  Annual  are  Dan  Anderson,  fea- 
ture  writer,   New   York   Sun;  Howard 


ANEW  photographic  lens,  the  Metro- 
gon,  which  enables  a  single  photo- 
graph taken  straight  down  from  an  air- 
plane to  show  three  times  as  much  area 
as  has  previously  been  possible  from  the 
same  altitude,  has  been  shown  by  engi- 
neers of  the  Bausch  and  Lomb  Optical 
Co. 

The  importance  of  the  lens  in  aerial 
photography  and  mapping  work  was  ex- 
plained by  company  engineers,  who  .said 
it  previously  had  been  necessary  to  fly 
higher  in  order  to  cover  more  ground 
but  that  haze  and  other  factors  intro- 


bachelor  Bob's  remarks  concerning  their 
status  as  movie  makers.  —  Close-Up 
(MPPC  Bulletin). 

▼ 

San  Francisco  Cinema 

The  February  meeting  of  the  Cinema 
Club  of  San  Francisco  was  held  on  the 
Jay  following  Washington's  Birthday. 
The  feature  of  the  session  was  a  trip 
through  the  Ball  Film  Laboratories.  The 
visit  included  a  review  of  the  works 
processing,  titling,  duplicating  and  up 
to  the  adding  of  sound.  Also  there  was 
a  showing  of  members'  films  and  a  re- 
view of  club  pictures. 

E.  G.  PETHERICK,  President. 


Barnes,  film  critic,  New  York  Herald- 
Tribune;  Wladysaw  T.  Benda,  artist  and 
illustrator;  Eileen  Creelman,  film  critic, 
New  York  Sun;  Arthur  L.  Gale,  editor 
Movie  Makers  Magazine;  Professor 
Mack  Gorham,  Columbia  University; 
George  Mills,  director  16  mm.  Depart- 
ment, Pathe  News;  Frank  S.  Nugent, 
film  critic.  New  York  Times;  Professor 
Russell  Potter,  Columbia  University. 

The  Littles'  Fifth  Motion  Picture  Eve- 
ning was  a  success.  The  feature  of  the 
evening  was  "The  Covered  Wagon." 
Backing  this  up  were  the  Panay  bomb- 
ing by  Norman  Alley  and  James  A. 
Sherlock's  "The  Brook."  The  host  of  the 
evening  commented  on  the  practice  of 
the  newsreel  man  of  working  without  a 
tripod  and  remarked  upon  the  Panay 
pictures  being  hand  held  with  rock- 
-steadiness. 

Another  picture  praised  by  the  mem- 
bers was  a  documentary  of  the  New 
Yoi'k  Stock  Exchange,  put  out  by  Dy- 
namic Pictures. 


duced  by  high  altitude  reduced  sharp- 
ness and  accuracy  in  aerial  mapping. 

With  the  new  Metrogon  fitted  to  the 
camera  a  plane  can  photograph  three 
times  as  much  ground  without  flying  any 
higher  or  farther  than  has  been  necess- 
ary with  the  average  lens  previously 
used. 

While  lenses  covering  wide  angles  are 
not  new,  the  combination  of  very  wide 
angle  with  sharpness  and  freedom  from 
distortion  at  the  relatively  high  speed  of 
f:6.3  is  regarded  as  an  optical  achieve- 


ment. The  Metrogon  covers  90  degrees 
of  field  and  has  a  focal  length  of  5V4 
inches. 

So  clear  is  the  definition  it  gives  that 
a  photograph  made  from  a  height  of  one 
mile  can  show  separate  railroad  ties 
anywhere  within  a  two-mile  circle  be- 
neath the  plane,  tests  in  the  company's 
Scientific  Bureau  have  disclosed.  The 
fineness  of  detail  which  the  new  lens  can 
record  at  the  center  of  the  picture  is 
limited  only  by  the  graininess  of  plates 
and  films. 

Distortion,  present  in  all  photo  lenses, 
has  been  almost  completely  eliminated 
in  the  Metrogon.  This  is  the  funda- 
mental lens  aberration  which  causes  the 
weird  elongation  of  faces  at  the  ends 
of  the  front  rows  in  banquet  pictures. 

In  a  photograph  from  which  a  map 
is  to  be  made  such  distortion  is  very 
objectionable.  Since  such  distortion 
ordinarily  becomes  pronounced  with  in- 
creasing angle  covered  by  the  lens,  its 
correction  was  the  major  obstacle  to  be 
overcome  in  the  design  of  the  lens,  com- 
pany engineers  declared. 


Wholesale  Opens  Store 

Wholesale  Radio  Service  Company  of 
100  Sixth  avenue,  New  York,  has  estab- 
lished a  complete  camera  and  photo- 
graphic supply  department.  A  large 
variety  of  still  and  motion  picture  cam- 
eras, projectors  and  enlargers  as  well 
as  accessory  equipment  will  be  found  in 
the  new  department. 

M.  Donald  Langer,  well  known  photog- 
rapher, exhibitor  and  instructor,  will 
be  in  charge.  Mr.  Langer  is  a  member 
of  the  Pictorial  Photographers  of  Amer- 
ica and  the  Royal  Phctographic  Society 
of  Great  Britain. 


New  Lens  for  Leica 

Hugo  Meyer  &  Co.,  245  West  Fifty- 
fifth  street.  New  York,  announces  a 
105  mm.  f:2.8  Cine  Trioplan  lens  for 
Leica  cameras.  This  Trioplan  f:2.8  is 
fully  corrected  for  astigmatism,  coma, 
color  and  spherical  aberration. 

The  resultant  negatives  are  crisp, 
brilliant,  sharp  and  clean-cut  assuring 
contrasting  color  values.  The  definition 
is  uniform  over  the  plate.  The  lens  is 
mounted  in  an  accurately  made  focusing 
mount  which  synchronizes  with  the  auto- 
focal  rangefinder  of  the  Leica  camera. 


Information  Requested 

Petrus  Film  Productions, 

8,  Montpelier  Road, 
Ealing  W.  5.  London. 
Editor  American  Cinematographer: 

We  are  anxious  to  get  in  touch  with 
Catholic  film  groups  and  Catholic  mem- 
bers of  film  groups  with  a  view  to  ex- 
changing films  and  news  and  would  be 
much  obliged  if  you  could  let  it  be  known 
through  your  columns.  Any  letters  should 
be  sent  to  the  above  address. 

JOAN  NEWTON, 
Sec,  Petrus  Information  Bureau. 


''High  School  Productions '  Enter 
Littles'  9th  Annual  Movie  Show 


Metrogon  Bausch  and  Lomb  Lens 
Triples  Field  in  Altitude  Shots 


March,  1938    •    American  Cinematographer  125 


AMATEURS  HAVE 
SPEEDIER  FILM 
JUST  LIKE  THE 
PROFESSIONALS 

MAIN  QUESTION 
IS  HOW  BEST  TO 
WIN  BENEFIT  OF 
FAST  EMULSIONS 


By  NED  VAN  BUREN,  A.S.C. 


THE  big  topic  of  technical  discus- 
sion among  professional  cinema- 
tographers  right  now  is  the  how 
and  when  of  using  Agfa's  two  new  super- 
fast  35mm.  films.  In  the  amateur  field, 
such  incredibly  fast  films  aren't  as  yet 
available,  but  the  amateur  has  a  very 
similar  problem  nevertheless,  for  he  has 
available  to  him  16mm.  and  8mm.  films 
with  an  even  greater  variety  of  speeds. 
Considering    only    the  panchromatic 


types  offered  by  two  or  three  of  the 
larger  manufacturers,  he  can  take  his 
pick  of  films  the  daylight  speeds  of 
which  range  from  Weston  8  to  Weston 
40  and  whose  ratings  for  artificial  light 
range  between  5  and  32. 

Like  the  professional,  the  amateur  is 
asking  when  and  how  he  should  use 
faster  films,  and  how  he  can  take  the 
fullest  advantage  of  the  higher  film 
speeds.     Well,  the  answer  to  one  will 


prove  a  pretty  good  answer  to  the  other. 

First  of  all,  let's  pay  our  respects  to 
a  couple  of  purely  elementary  questions 
and  get  them  out  of  the  way.  If  you 
want  to  save  money  when  you  buy  film 
you  might  as  well  forget  all  of  the  faster 
varieties.  High  speed  and  low  prices 
don't  go  together. 

Film  Speeds  and  Light 

Of  course,  if  you  stop  to  figure  out 
the  cost  of  faster  lenses,  extra  lighting 
equipment  and  the  time  and  trouble 
you'll  take  in  lighting  scenes  on  slower 
film  to  give  you  equivalent  results,  you 
will  find  the  faster  emulsions  aren't  so 
expensive  after  all. 

Sometimes  it  is  a  lot  cheaper  to  think 
of  the  added  speed  of  the  faster  films 
as  so  much  lighting  equipment  you  don't 
have  to  buy  than  considering  it  merely 
as  faster  and  more  expensive  film. 

That  leads  us  right  into  the  second 
elementally  proposition.  Of  course  every- 
body uses  a  faster  film  when  he  is  up 
against  lighting  conditions  (either  inte- 
rior or  exterior)  beyond  the  limitations 
of  his  ordinary  type  of  film.  That  is  no 
longer  news.  What  we — professional  or 
amateur  alike — want  to  find  out  is  what 
benefits  we  can  get  using  faster  films 
under  circumstances  where  we  could  ac- 
tually "get  by"  using  ordinary  emulsions. 

Interiors  and  Lens  Stops 

Let's  start  with  interiors.  Suppose  we 
have  an  ordinary  interior  scene  lit.  Our 
meter  gives  us  a  light  value  reading  of 
8.  If  we  use  ordinary  good  panchro- 
matic film,  like  the  regular  Eastman 
Panchromatic  or  "Safety  Film,"  or  Agfa 
Hypan,  all  of  which  have  an  artificial 
light  speed  rating  of  8,  we  will  have  to 
shoot  the  scene  with  our  lens  opened  up 
to  f :1.5. 

Incidentally,  this  seems  a  good  time 
to  step  heavily  on  the  mistaken  idea  that 
you  can't  shoot  interiors  with  these  films. 
You  can.  They  are  slower  under  incan- 
descent light,  to  be  sure,  but  there  is 
nothing  to  prevent  you  from  using  them 
if  you  want  to  provide  enough  light  to 


Left — Enlargement  from  -ISmm.  frame  photographed  on  standard  superpan  film  at  f  ■.2. ■>  Note  gray  tone  and  vague  background 
Right — Enlargement  from  35mm.  frame  photographed  on  new  Agfa  fast  film  at  f:Jt.5.  Note  greater  brilliance,  better  definition 

and  depthof  focus 


126     American  Cinematographer    •    March,  1938 


make  an  exposure.  As  a  matter  of  fact, 
you  can  shoot  interiors  on  the  cheapest 
ortho  stocks,  or  even  on  positive  film — 
IF  you  use  enough  light! 

But  that  is  rather  far  afield  from  our 
supposititious  exposure,  which,  you  re- 
member, was  made  on  ordinary  pan  film 
at  f  :1.5. 

Now  suppose  we  spend  a  few  more 
supposititious  dimes,  and  put  a  roll  of 
a  faster,  superpan  type  film  like  East- 
man Supersensitive  Panchromatic,  into 
our  camera.  This  has  an  artificial  light 
speed  of  16.  With  the  identical  lighting 
set-up  we  can  now  stop  the  lens  down 
to  f:2.2. 

Again,  since  supposititious  film  doesn't 
cost  either  of  us  anything,  suppose  we 
buy  another  roll,  this  time  Super  Pellex, 
which  has  an  ai'tificial  light  speed  of  32. 
Still  keeping  the  lighting  the  same,  this 
lets  us  stop  down  to  f  :3.2. 

Practical  Results 

What  does  all  this  mean  in  terms  of 
practical  results  on  the  screen? 

The  answer,  boiled  down  to  two  words, 
is  "better  pictures,"  or,  to  be  more  spe- 
cific, better  definition.  The  lens  design- 
ers themselves  are  the  first  to  admit  that 
in  achieving  the  high  speeds  offered  by 
the  faster  lenses  now  available  for  16mm. 
and  8mm.  cinematogi-aphy,  the  speed  has 
to  be  obtained  by  making  sacrifices  of 
other  desirable  qualities. 

Thus  while  the  quality  of  pictures 
photographed  at  the  maximum  apertures 
of  these  lenses  may  be  amazingly  good 
it  cannot  be  as  good  as  that  obtained 
when  the  same  lens  is  used  at  a  smaller 


opening.  The  pictures  are  softer  and 
flatter  and  show  less  life  and  natural- 
ness. 

As  the  lens  is  stopped  down  there  is 
a  marked  increase  of  snap  and  sparkle, 
and  the  picture  gives  a  much  more  natu- 
ral impression  of  lifelike  roundness. 

Most  notable,  as  any  lens  is  stopped 
down,  the  depth  of  focus  increases.  So, 
considering  that  our  f  :1..5  shot  was  made 
with  a  standard  1-inch  lens,  if  we  as- 
sume we  have  focused  on  a  person  8  feet 
from  the  camera,  at  f:1.5  our  depth  of 
focus — or  our  area  of  acceptably  sharp 
focus,  if  you'd  rather  put  it  that  way — 
will  range  from  a  near  limit  about  6 
feet  4  inches  from  the  camera  to  a  far 
limit  about  11  feet  from  the  camera. 
Depth  of  Focus 

But  with  the  same  lens  focused  on 
the  same  point  and  stopped  down  to  f  :32 
our  depth  of  focus  will  embrace  every- 
thing from  a  point  less  than  5  feet  in 
front  of  the  lens  to  a  distant  limit  slight- 
ly over  20  feet  away!  In  other  words, 
assuming  our  shot  is  made  in  an  average 
room,  practically  everything  in  the  scene 
will  be  acceptably  sharp. 

And  here's  a  ray  of  hope  for  the  users 
of  the  less  expensive  cameras  equipped 
with  fixed-focus  lenses.  In  the  16mm. 
field,  these  lenses  usually  have  a  maxi- 
mum aperture  of  f:3.5,  and  quite  a  few 
amateurs  have  already  discovered  that  it 
is  possible  to  film  interiors  with  them, 
using  the  superpan-type  films. 

Of  course,  it  is  necessary  to  use  these 
lenses  wide  open  for  such  shots.  These 
fixed-focus  lenses  are  usually  focused  at 


25  feet,  and  at  f:3.5  the  depth  of  focus 
extends  to  about  8  feet  from  the  camera. 
But  if  we  use  one  of  the  still  faster  films, 
like  Super  Pellex,  with  its  speed  of  32, 
in  the  camera,  we  can,  with  the  same 
lighting,  stop  down  to  f:5,  at  which  the 
depth  of  focus  extends  to  within  6  feet 
of  the  lens! 

All  of  which  reminds  me  of  a  profes- 
sional trick  which  can  often  be  valuable 
in  amateur  work.  Sometimes  we  want 
to  carry  our  definition  either  farther  for- 
ward or  farther  back  of  the  actual  depth 
of  field  possible  with  normal  methods. 

In  that  ca.se  we  set  our  focus  slightly 
in  front  of  or  behind  the  actual  subject — 
whichever  way  we  may  want  the  added 
depth— and  get  the  result  needed,  allow- 
ing the  depth  of  focus  to  keep  the  prin- 
cipal subject  adequately  sharp. 

For  instance,  in  our  supposed  f:3.2 
shot,  where  the  depth  of  focus  extends 
to  5  feet  from  the  camera  with  the  lens 
focused  at  8  feet,  if  we  have  important 
objects  nearer  the  camera  than  5  feet, 
we  can  "cheat"  a  bit,  focusing  at  6  feet, 
which  will  still  keep  our  8  foot  distant 
subject  reasonably  sharp,  and  at  the 
same  time  bring  the  near  limit  of  focus 
to  4  feet  from  the  lens. 

Fast  Film  Outdoors 

So  much  for  interiors.  We  can  also 
make  use  of  the  added  speed  of  the  faster 
films  outdoors,  even  under  normal  light- 
ing conditions.  For  example,  the  added 
speed  can  be  very  handy  when  using 
heavy  filters. 

Let's  assume,  for  instance,  we  are  set 
up  outdoors  on  a  shot  where  the  un- 
filtered  exposure  on  ordinary  pan  film 
would  be  f  :8.  Let's  also  assume  that  we 
want  to  use  a  heavy  red  filter  with  a 
factor  of  10.  With  ordinary  film,  this 
would  force  us  to  open  up  to  f  :2.5. 

If  we  use  a  superpan  type  film  with 
a  daylight  speed  of  24,  we  can  make  the 
same  filtered  shot  stopped  down  to  f  :3.5, 
and  if  we  try  it  with  a  still  faster  film, 
rated  at  Weston  40,  we  can  do  it  at  f  :4.5. 

Considering  the  lighter  filters  more 
ordinarily  used,  the  added  speed  of  the 
faster  varieties  of  film  will  also  prove 
helpful  in  permitting  us  to  use  filters 
under  less  favorable  light  conditions, 
when  filter  work  ordinarily  would  be  im- 
possible. 

Of  course,  no  combination  of  filter  or 
film  will  give  us  overcorrected  skies  when 
there  is  no  blue  sky  to  correct;  but  when 
we  are  faced  with  the  problem  of  having 
to  film  distant  landscapes  on  dull  days, 
filters  can  often  help  to  cut  through  the 
haze  masking  the  distance. 

As  a  final  hint,  which  can  be  only  a 
hint  here,  don't  forget  that  the  same 
filter  may  have  different  factors  with 
different  types  of  film.  It  is  entirely 
possible  for  a  filter  to  have  a  factor  of, 
say,  12  on  one  type  of  film,  and  a  factor 
of  but  8  on  another  type,  equally  pan- 
chromatic and  equally  fast.  It  is  simply 
a  matter  of  the  varying  color  sensitivity 
of  the  different  emulsions.  But  that  is 
another  story! 


March,  1938    •    American  Cinbmatographer  127 


AMERICAN  CINEMATOGRAPHER 
HAND  BOOK  and  REFERENCE  GUIDE 

SECOND  EDITION 

Written  and  Compiled  by 

JACKSON  J.  ROSE,  A.  S.  C. 

We  Wish  You  to  Knoiv  That... 

The  success  and  complete  sell-out  of  our  previous  Hcmd  Book  and  Refer- 
ence Guide  and  numerous  requests  for  additional  copies  have  prompted  us  in 
preparing  for  publication  the  Second  Edition  of  the  American  Cinematographer 
Hand  Book  and  Reference  Guide. 

This  Hand  Book  is  indorsed  and  recommended  by  the  leading  cinematog- 
rophers  of  Hollywood.  Full  and  complete  with  the  latest  information  for  all 
types  of  photography.  Professional  35  m.m.,  amateiir  16  m.m.  and  8  m.m., 
miniature  cameras,  films,  filters,  lenses,  formulas,  calculators,  color  systems, 
projectors,  make-up,  timers,  film  speeds,  etc.;  it  is  just  jammed  full  of  the 
right  kind  of  information,  200  pages  of  it,  all  of  this  printed  on  the  very  best 
paper  with  a  fine  grain  flexible  cover.  Pocket  size — the  right  size  that  fits  into 
your  pocket. 

...  PRICE  $3.00  ... 

American  Society  of  Cinematographers 

1782  North  Orange  Drive  Hollywood,  California 


Permanent 
Record  of 
Lighting 
Data  on 
each  scene 
devised  hif 
William  H. 
Daniels,  A.S.C. 
at  M-G-M 

See  Page  102 


B«ll  Room  -  St«ge  27 
ProduotiOD  #10J0 
Cajasramaji  -  D>.nl«lt 
Set  19  -  I«terlor  -  Night 
Se«B«i  No*.  108  to  129 
Dates  1/2U  to  1/31/38 
Bo«a  mi  B«T«rae  Shot 
Seq.   


Heii^ht  of  Ch«n<1alierB  : 

1.  12  ft.  6" 

12  ft, 

11  ft. 

11  ft. 

12  ft. 
15  ft. 
II  ft. 


y 

9" 

9" 
6" 

10" 

I4" 


B»by  Spot*  — « 

Junior  "  — O  (Jr. ) 

Glnmick*  —j 
BroaH*  _" 

Duces  --<• 


Hotel 

Gimmick*  on  the  b*ck  of  all  oacdle  arbor*. 


128     American  Cinematographer    •    March,  1938 


A  Story  of  an 
Award  Winning 
"Picture  By  Its 

Maker's: 
Harry  French 

and 
Mel  Wesleder 


THE  entire  production  of  "Solar 
Pelexus,"  winner  of  an  equipment 
prize  in  the  Cinematographer's 
1937  contest,  was  begun  in  the  spirit  of 
fun.  At  the  time  of  its  conception,  neither 
of  us  had  even  heard  of  a  contest  for 
amateur  moviemakers.  In  fact,  it  was 
not  until  the  last  three  weeks  of  the 
contest  that  we  gave  any  serious  thought 
to  the  possibility  of  entering  our  maiden 
production  in  competition  with  the  work 
of  other  more  experienced  filmers.  Then 
began  a  race  for  the  end  of  the  picture 
— by  long  odds  the  most  hectic  period  of 
our  film's  making! 

Our  equipment  was  (and  still  is)  one 
Stewart-Warner  16mm.  camera  with  an 
f:3.5  lens;  one  generous  friend  with  a 
Weston  exposure-meter  and  a  splicer; 
three  home-made  reflectors  —  and  an 
overwhelming  desire  to  make  a  minia- 
ture movie. 

Uncharted  Finish 

Not  by  nature  economical,  we  found  a 
new  delight  in  begging,  borrowing  and 
— well,  TAKING — paint,  paper,  wire  and 
every  sort  of  oddments  in  an  eff'ort  to 
keep  the  costs  confined  to  film  alone.  In 
this  we  were  singularly  successful,  and 
in  return  gave  all  of  the  contributing 
parties  a  line  in  a  "Grateful  Acknowl- 
edgement" title.  This  apparently  pleased 
them  moi-e  than  anything  else  within 
cur  power  to  do. 


The  story,  which  some  unkind  people 
have  termed  a  "pipe  dream,"  was  doped 
out  between  ourselves.  That  is,  all  but 
the  finish.  We  figured  that  would  take 
care  of  itself.  How  wrong  we  were! 
F'inding  that  climax  for  our  otherwise 
virtually  completed  picture  gave  us  more 
than  a  few  gray  hairs.  With  it  came  a 
firm  resolve  never  to  undertake  anothev 
epic  until  the  scenario  is  complete  i;i 
every  detail ! 

Footage  Underestimated 

Like  all  other  first  off'enders,  we  under- 
estimated the  matter  of  footage.  Our 
first  guess  was  that  the  completed  film 
would  run  into  about  350  feet;  actually, 
it  exceeded  700  feet!  And  that  does  not 
take  into  account  retakes,  or  the  footage 
necessarily  wasted  and  chalked  up 
against  experience. 

It  took  us  a  little  matter  of  50  feet  of 
hard-earned  film  just  to  discover  that 
there  was  such  a  monster  as  parallax. 
Even  then  we  erred  in  correcting  for  it, 
and  a  few  of  the  titles  were  yet  a  bit 
off  center. 

But  suppose  we  begin  at  the  beginning 
and  ti-y  to  strip  some  of  the  mystery 
away  from  the  various  unusual  scenes 
we  had  to  make  in  "Solar  Pelexus." 

The  Main  Title,  "Solar  Pelexus,"  was 
cut  from  cardboard,  painted  white  and 
covered  with  "glitter"  (a  powdered  glass 


used  by  commercial  artists).  It  was  sus- 
pended against  a  black  background  by 
invisible  black  threads,  and  lit  by  two 
No.  2  Photcfloods. 

The  "planet"  was  suspended  the  same 
way,  and  side-lighted. 

To  obtain  the  smoke  effect  quantities 
of  "dry  ice"  were  placed  in  a  pot  of 
boiling  water.  This  produced  a  dense 
white  vapor  which  was  poured  down  in 
front  of  the  camera  through  a  shaft  of 
light  projected  across  the  path  of  the 
lens. 

Dry  Ice  Smoke 

After  the  lens  was  obscured  we  stopped 
the  camera,  added  the  necessary  words 
to  complete  the  title,  then  again  obscured 
the  lens  with  our  "dry  ice"  vapor,  started 
the  camera  and  allowed  the  smoke  to 
dissipate.  This  gave  quite  an  interesting 
and  novel  effect. 

To  make  the  "roll  up"  effect  of  the 
"Foreword"  title  we  built  a  track  on  the 
bench,  suspended  the  camera  facing  the 
floor,  laid  out  the  words  with  our 
separate,  cut-out  letters  on  a  black  back- 
ground, and  moved  the  camera  (with  the 
lights  attached)  down  the  track.  We  don't 
know  how  they  do  these  things  in  the 
studios,  but  this  method  is  a  good  one  for 
the  amateur  with  limited  equipment. 

The  next  few  shots  in  the  picture  are 
ordinary  exteriors.  There  is  nothing  very 
important  to  say  about  them,  except 
perhaps  to  mention  that  the  scenes  show- 
ing the  two  of  us  apparently  flying  in  a 
plane  were  actually  photographed  on  the 
ground. 

How? 

We  simply  chose  a  set-up  where  no 
horizon  showed  and  tilted  the  camera 
sideways  so  that  the  ship  appeared 
leveled  out  in  flying  position.  Of  course 
we  had  the  ship's  engine  running  to  give 
us  a  good  blast  of  wind  from  the  pro- 
peller. Outside  of  that,  the  flying  shots 
were  authentic,  and  we  really  flew  the 
takeoff  and  landing. 

Next  came  the  miniature  shot  of  the 
plane  circling  the  rocket  field.  This  is  of 
course  the  first  view  of  the  rocketship, 

The  miniature  rocketship  and  strange 
"monsters"  of  "Solar  Pelexus" 


March,  1938    •    American  Cinematographer  129 


Harry  French  and  Mel  Wesleder  with 
some    of    the    miniature    settings  and 
"props"    used   in   their  award-winning 
film,  "Solar  Pelexus" 

so  a  ward  about  its  construction  Ij 
indicated. 

Our  "space  ship"  was  fashioned  of 
balsa  wood,  and  was  about  7  inches  in 
height.  The  miniature  set  naturally  made 
it  seem  to  be  immense. 

Gelatin  for  Filter 

At  all  times  after  the  landing  of  the 
full-sized  plane  we  used  a  double  yellow 
gelatin,  such  as  is  used  to  tint  theatre 
lights,  by  way  of  a  filter.  The  gelatin 
was  simply  wound  around  and  over  the 
lens  and  secured  with  rubber  bands. 

Anyone  who  has  used  a  Stewart-War- 
ner camera  knows  how  difficult  it  is  to 
use  filters  with  it,  on  account  of  the 
arrangement  of  its  lens  mount.  This 
filter  substitute  proved  veiy  adequate. 
We  used  a  slight  underexposure  to  give 
a  weird  moonlight  effect  to  this  and  sub- 
sequent outdoor  scenes. 

The  full-sized  shots  of  us  ascending 
the  ladder  to  the  rocket  were  taken  on 
the  roof  of  the  building  where  we  are 
employed.  They  were  intercut  with  minia- 
ture animation  of  figures  approximately 
1  inch  in  height,  made  from  lead  sinkers 
and  painted  white  to  imitate  our  white 
flying  suits. 

To  produce  the  sky  scenes  with  stars, 
we  confiscated  an  old  roll  of  tar  paper. 
In  it  were  punched  some  fifty-odd  holes, 
which  were  then  back-lit  with  two  No.  2 
Photoflocds.  A  slight  movement  of  the 
lights  gave  the  effect  of  twinkling  stars. 

Again  in  our  one  full-sized  set — the 
rocketship's  control  room — the  tar  paper 
came  in  handy.  The  set  was  built  in  a 
corner  of  our  "studio"  and  included 
probably  the  largest  assortment  of  dis- 
cai'ded  radio  parts  ever  assembled. 

Burning  magnesium  ribbon  behind  ;i 
large  and  very  defunct  radio  trans- 
mitting tube  gave  us  a  hearty  boost  on 
our  hazardous  takeoff.  Our  "space  meter" 
was  painted  on  heavy  cardboard  and 
fitted  with  a  pointer  moved  by  strings 
motivated  by  a  helper  "backstage". 

Take-Off— Miniature 

The  actual  shots  of  the  rocket's  take- 
off were  of  course  done  in  miniature.  The 
"aiming"  of  the  miniature  rocket  Wri;< 
shot  in  slow  motion  to  smooth  out  the 
action.  The  rocket  was  turned  on  its  axis 
by  means  of  an  invisible  black  thread. 

The  rocket  itself  was  similarly  hauled 
n-om  the  confines  of  earthly  gravity  l.y 
a  length  of  heavy  black  thread.  A  lowh' 
firecracker  and  fuse  furnished  the  pyre- 
technics. 

The  shot  of  the  apparently  receding- 
earth  was  what  the  professionals  call  z 
"trucking  shot."  We  built  a  track  down 
the  length  of  the  room  (it  was  not  too 
smooth)  and  on  it  ran  a  wooden  camera 
dolly,  on  wheels.  To  make  the  shot  we 
moved  the  camera  backward  from  the 

One  of  the  miniature  sets.  This  one  is 
the  rocketship's  space  port 


subject,  moving  rather  quickly  and  using 
the  slow-motion  speed. 

The  earth  itself  was  a  suspended  tin 
globe,  with  the  visible  continents  modeled 
in  relief  with  children's  modeling  clay, 
and  cross  lit.  The  oceans  were  painted 
black  and  the  continents  white.  The  effect 
we  wanted — and  got — was  that  of  travel- 
ing at  tremendous  speed  from  earth  into 
outer  space. 

The  approach  to  the  mythical  planet 
of  "Solar  Pelexus"  was  filmed  by  the 
reverse  of  this  procedure.  Incidentally, 
it  was  the  same  tin  globe,  but  remodeled 
with  more  clay  to  show  tiny  volcanic 
craters. 

The  landing  of  the  rocket  on  this  star 
was  done  on  another  miniature  set.  al.=:o 
shot  in  slow  motion.  The  miniatui'e  rocket 
was  tossed  from  offstage  into  a  pan  of 
"mush"  made  of  lime  and  water.  Need- 
less to  say  there  were  one  or  two  misses 
— to  the  awful  accompaniment  of  film 
racing  through  the  camera  at  slow- 
motion  speed ! 

Matter  of  Size 

However,  we  were  fortunate  in  the 
"take"  that  was  finally  used.  The  fire- 
cracker did  not  spend  itself  immediately 
on  landing,  but  spewed  for  a  moment  or 
two,  thus  endowing  the  picture  with  an 
unlooked-for  and  beneficial  technicality. 

To  further  heighten  the  illusion  of 
massiveness   suggested   by   shooting  in 


slow  motion,  we  used  the  seven-inch 
rocket  and  the  one-inch  figures.  But  for 
succeeding  shots  we  made  a  duplicate  of 
the  rocket  two  inches  long  and  two 
figures  a  quarter  of  an  inch  in  heighth 
and  introduced  them  in  our  first  full 
view  of  our  mythical  planet  set. 

We  similarly  duplicated  the  gash  made 
in  the  terrain  by  the  landing  rocket.  This 
smaller  scale  of  course  made  the  minia- 
ture animals  seen  later  appear  more 
mammoth. 

Now  as  to  our  miniature  set,  with  its 
craters  and  mountains.  These  wei'e  made 
up  of  small  pieces  of  chicken  wire  netting 
tacked  over  upright  sticks  which  in  turn 
were  nailed  to  flat  board  bases.  Over 
this  we  placed  numerous  small  squares 
of  newspaper  which  had  been  dipped  in 
hot  glue  and  water.  (This  is  a  common 
method  of  making  home  made  papier- 
mache.  When  the  glue  and  water  treated 
paper  dries  it  becomes  stiff,  conforming 
to  the  shape  in  which  it  is  placed.) 

The  outside  coats  of  paper  in  cur  set 
were  crumpled,  and  when  dry  they  were 
painted — or  more  correctly,  splashed — 
with  cheap  water-color  paint  to  conceal 
the  newsprint. 

Creating  a  Horror 

We  were  as  surprised  as  anyone  when 
we  saw  the  way  this  set  photographed 
and  the  good  imitation  of  lava  it  gave. 

The  monstrous  and  strange  animals 


130     American  Cinematographer  • 


March,  1938 


were  ten-cent  wind-up  toys  the  appear- 
ance of  which  we  altered  with  clay,  a 
little  paint,  some  frayed  rope  and  glue. 
The  gruesome  thing  which  emerged  from 
the  cavern  was  simply  a  human  hand 
(very  much  alive)  covered  with  a  rubber 
glove  on  which  had  been  glued  quantities 
of  hair,  some  ugly  tusks  and  a  cyclopean 
eye  made  of  broken  mirror! 

Here  let  us  give  endless  credit  to  a 
well-known  5  and  10  emporium,  without 
the  assistance  of  which  cur  budget  might 
well  have  been  ruined!  For  that  matter, 
the  neighborhood  5  and  10  is  a  mine  of 
valuable  gadgets  for  any  imaginative 
moviemaker. 

Magnesium  ribbon  aided  us  innumer- 
able times  in  the  picture.  It  provided  a 
sensational  take-off,  a  frightful  comet, 
and  some  brilliant  meteors.  The  latter 
were  dropped  down  on  the  set  during  the 
storm  scene,  and  combined  with  some 
large  Fourth  of  July  sparklers  to^  make 
a  most  impressive  cosmic  display. 

In  a  brief  review  of  "Solar  Pelexus" 
in  a  recent  issue  of  this  magazine  we 
noticed  that  mention  was  made  of  the 
so-called  "black  lightning"  effect  as  being 
accomplished  with  a  graduated  filter. 
Please  allow  us  to  hasten  to  correct  this 
error.  (Certainly!  We  guessed  wrong, 
but  the  effect  was  convincing  anyhow ! 
Ed.) 

The  "black  lightning"  in  the  exterior 
scenes  was  made  with  the  aforementioned 
single  yellow  gelatin  over  the  lens,  while 
a  common  red  gelatin  glued  to  a  wire 
frame  was  passed  before  the  camera 
quickly  at  short  intervals  to  produce  the 
illusion. 

In  the  full-size  shots  the  "bombard- 
ment of  electrons,"  which  in  the  minia- 
ture was  produced  by  sparklers,  was 
accomplished  by  an  assistant  who  shot 
balls  of  fire  at  us  from  a  roman  candle. 
Sometimes  we  thought  his  aim  uncom- 
fortably accurate. 

It  may  be  of  interest  to  note  that  had 
the  camera  been  moved  45  degrees  to 
the  right  in  filming  this  scene  one  could 
have  had  as  good  a  view  of  the  fair  city 
of  San  Francisco  as  could  be  desired. 

What?  No  Tripod! 

Our  "studio"  was  an  unused  carpenter 
shop  in  the  building  in  which  both  of  us 
are  employed.  The  miniature  sets  were 
built  at  one  end  of  a  long  work  bench 
and  approximated  4  by  6  feet  in  size. 

At  no  time  during  the  filming  did  we 
use  a  tripcd.  Instead  we  erected  wooden 
frames,  to  which  we  secured  the  camera 
with  clamps. 

The  cutting  and  editing  were  facilitated 
by  the  use  of  a  toy  projector.  This,  as 
we  discovered,  is  bad  for  the  film,  but  it 
enabled  us  to  stop  the  film  and  view  indi- 
vidual frames. 

The  picture  was  in  production  over  a 
period  of  seven  months  and  gave  us 
many  pleasant  hcurs.  Agfa  Plenachrome 
and  Agfa  Supcrpan  were  u.sed  through- 
out. 

It  took  us  two  full  weeks  to  cut  the 
film  to  its  final  form.  We  "pared"  un- 
mercifully, though  watching  with  mis- 
givings the  increa-sed  amount  of  deleted 
film.  But  the  experience  taught  us  that 


proper  cutting  is  the  secret  of  making 
)'eally  entertaining  pictures. 

If  our  effort  has  brought  some  measure 
of  pleasure  to  those  who  have  witnessed 
"Solar  Pelexus"  then  our  purpose  has 
been  accomplished.  Making  it  has  taught 
us  that  while  fine  and  expensive  equip- 
ment is  desirable  and  helpful,  it  is  by  no 
means  a  prerequisite  to  the  amateur 
moviemaker,  if  he  be  just  a  little  re- 
sourceful. 

In  this  manner  he  can  afford  just  so 
much  more  film  to  perfect  the  scenes 
which  otherwise  he  might  hesitate  to 
attempt  because  of  the  added  cost.  And 
after  all,  one  good  idea  captured  on  film 
is  worth  more  than  a  dozen  that  remain 
simply  unphotcgraphed  thoughts! 

Entertains  A.  S.C.  Members 

(Continued  from  Page  107) 

of  a  dramatic  monologue  ana  solo,  the 
tale  of  a  train  announcer  who  never  had 
been  on  a  train,  who  never  had  been 
anywhere.  For  ten  minutes  the  house 
was  very  quiet — keyed  to  the  point 
where  the  unexpectedly  stark  tragedy  of 
the  denouement  came  with  smashing 
force. 

The  finish  established  this  brilliant 
and  versatile  son  of  Old  Bowdoin  as 
more  than  a  singer  and  monologuist. 
It  marked  him  as  one  who  successfully 
may  carry  a  sustained  dramatic  part. 
If  the  time  come  when  Rudy  Vallee 
decides  to  lay  aside  at  times  his  leader's 
baton  we  may  be  sure  the  entertainment 
loving  public  will  have  a  treat  coming. 

The  last  number  of  the  evening  was 
provided  by  the  rollicking  Yacht  Club 
Boys  —  Charles  Adler,  Billy  Mann, 
George  Kelly  and  Jimmy  Kern,  with  Ben 
Kendall  at  the  piano.  There  was  no 
denying  it  was  a  tough  spot  to  step  into. 
But  the  laughs  started  with  their  open- 
ing. 

Possibly  no  group  of  entertainers 
today  in  its  lyrics  so  nearly  approxi- 
mates the  color  and  quality  of  the  Gil- 
bertian  standard  as  does  this  quartet. 
And  if  for  maturer  audiences  there  be 
a  touch  of  Rabelaisian  spice  to  add  to 
the  fun  the  composer  of  the  l>Tics  is 
to  be  congratulated  for  his  welding  of 
the  humor  of  the  fifteenth  and  nine- 
teenth centuries.  It  was  another  great 
show. 

The  A.  S.  C.  men  certainly  were  under 
a  spell.  They  forget  the  rain  as  they 
stepped  out  into  the  downpour.  They 
were  glad  they  had  left  home  for  the 
evening.  G.B. 


New  Kodak  Field  Case 

Eastman  Kodak  announces  a  new 
sportsman's  field  case  of  the  instant- 
action  type  for  the  Kodak  Duo  Six-20, 
Series  II. 

The  case,  similar  to  those  recently  de- 
signed for  the  Kodak  Bantam  Special 
and  Kodak  Retina  II,  is  made  in  two  sec- 
tions of  heavy  case-stock  brown  leather. 
The  inner  section,  which  holds  the  cam- 
era, is  lined  with  maroon  velveteen  over 
a  spring-steel  frame  which  clasps  the 
camera  snugly.    Neck  straps  attach  tc 


this  frame  at  the  upper  corners. 

The  protecting  outer  section  of  the 
case  is  attached  to  the  inner  section  b> 
three  glove-button  fasteners.  Unsnap- 
ping  a  single  fastener  allows  the  outer 
section  to  swing  down,  fiap-fashion,  out 
of  the  camera's  field  of  view.  If  desired, 
the  whole  outer  section  c^.n  be  removed 
and  carried  in  a  pocket. 


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Tripod  only   10.00 

COMPLETE   18.E0 


March,  1938    •    American  Cinematographer  131 


Littles  Honored  in  Three  Rivers 
Country  at  ''^V oyageurs''  Premier 


yt  S  GUESTS  of  La  Societe  le  Flam- 
/-%  beau,  an  organization  cf  the  arts 
^  and  sciences,  Mr.  and  Mrs.  Dun- 
can MacD.  Little  were  invited  to  Trois- 
Rivieres,  Quebec,  to  hold  the  premiere 
of  "Voyageur's  Trail,"  the  story  of  the 
canoe  race  between  La  Tuque  and  Three 
Rivers  photographed  by  Mr.  Little  and 
for  which  he  was  awarded  honorable 
mention  in  the  American  Cinematog- 
rapher's  recent  contest. 

The  evening  began  with  reception  at 
6,  followed  by  dinner  at  6:30,  with  sing- 
ing of  the  old  French  songs  by  the  Trou- 
badours at  7:45.  The  latter  were  broad- 
cast, as  was  the  address  of  Mr.  Little, 
who  was  on  the  air  for  fifteen  minutes, 
dividing  his  time  between  French  and 
English. 

At  8:30  the  pictures  were  shown.  The 


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KINO-HYPAR 

ANASTIGMATS 

F:2.7  and  F:3 

are  LENSES  made  in  focal 
lengths  from  15mm.  to  100mm. 
that  can  be  fitted  in  suitable 
focusing  mounts  to  Amateur  and 
Professionai 

MOVIE  CAMERAS 

They  give  microscopic  definition 
and  the  resulting  image  has  re- 
markable brilliance  and  crisp- 
ness. 

The  production  of 

CINEMATIC 

ACCESSORIES 

such  as  Effect  and  Trick  Devices, 
Vignetters,  etc.,  has  been  our 
specialty  for  years. 

The  GOERZ 

REFLEX  FOCUSER  and 
the  VARIABLE  FIELD 
VIEW  FINDER  are  preci- 
sion instruments  useful  in 
MOVIE  MAKING. 

Address  Dept.  A.C.3 

C.  p.  GOERZ  AMERICAN 
OPTICAL  COMPANY 

317  E.  34th  St.,  New  York,  N.  Y. 


"Voyageurs"  was  wildly  acclaimed,  as 
was  to  be  expected  in  the  home  locale. 
The  opening  picture  titled  "Etoffe  du 
Pays  Canadienne"  ("Making  of  Canad- 
ian Homespun")  also  was  produced  by 
the  guest  of  honor.  It  was  announced  as 
"the  first  film  exemplifying  the  old  tradi- 
tions of  French  Canada — and  made  by 
an  American!" 

It  is  well  worth  while  recording  one 
of  the  Voyageurs  whose  work  was  shown 
in  the  film  had  traveled  in  dead  of 
winter  125  miles  to  be  present.  This 
was  a  real  journey,  especially  for  a 
"shantyman,"  as  Canadians  describe 
what  is  known  to  us  as  a  lumbei-jack. 
The  guests  of  honor  well  may  have  been 
touched  by  the  hardships  encountered 
and  physical  effort  expended  in  order 
that  he  might  be  pi-esent. 

There  were  presentations  to  the 
guests,  an  after-theater  supper  by  the 
Junior  Chamber  of  Commei'ce,  an  hon- 
orary life  membership  in  that  body,  and 
to  bed  at  3  in  the  forenoon.  It  was  a 
whirlwind  evening. 

Sunday  afternoon  before  starting 
back  to  New  York  the  pictures  were 
shown  at  a  little  boys  school  conducted 
by  the  Sisters. 

During  their  visit  the  Littles  viewed 
an  exhibition  of  still  pictures  at  the 
Syndicate  d'Initiative,  the  first  held  lo- 
cally. There  were  about  a  hundred  prints, 
of  better  than  fair  average,  with  some 
excellent.  There  is  a  likelihood  those 
behind  the  exhibit  may  organize  a  still 
group  and  a  cinema  group. 

The  Canadian  press,  both  French  and 
English,  paid  much  attention  to  the  visit 
of  the  Littles  and  to  the  honorable  men- 
tion that  had  been  awarded  by  the 
American  Cinematographer  to  the  Voy- 
ageur's entry  in  the  1937  contest. 


Devry  Demonstrates  Frames 

At  the  monthly  meeting  of  the  Chi- 
cago section  of  motion  picture  engineers, 
February  9,  Herman  A.  Devry  presented 


CRAIG 

SPLICER  and  REWINDS 


CRAIG  JUNIOR  COMBINATION  $8.50 

Junior    Splicer    with    two    geared  rewinds 
all  mounted  on  21"  board. 

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1053  So.  Olive  St.  Los  Angeles,  Calif. 


the  new  framing  device  for  35mm.  pro- 
jectors, which  is  said  to  be  the  first 
framer  which  utilizes  the  chain  drive 
for  both  framing  and  proper  transmis- 
sion. 

The  new  framer  works  on  a  revolving 
principle,  eliminating  difficulties  which 
formerly  caused  the  film  slightly  to 
buckle  if  not  properly  threaded. 

The  new  framer  was  received  with 
great  enthusiasm  by  motion  picture  en- 
gineers as  a  marked  improvement — and 
one  which  undoubtedly  will  result  in 
smrother  projection  and  less  strain  on 
35mm.  film. 


American  Publishing  Issues 
Trick  Photography  Secrets 

THE  American  Photographic  Pub- 
lishing Company  of  428  Newbury 
street,  Boston  17,  has  issued  "The  Secrets 
of  Trick  Photography,"  by  O.  R.  Croy. 
The  book  has  176  pages  and  retails  at 
82.50.  It  was  first  printed  in  Germany 
in  1937,  the  translation  having  been  made 
by  P.  C.  Smethurst.  Eighty-four  subjects 
are  treated,  a  cross-section  of  which  may 
be  conveyed  to  the  reader  by  quoting  the 
titles  of  the  opening  and  closing  five  cap- 
tions and  a  similar  number  from  the  mid- 
dle of  the  book: 

Photography  without  a  Camera,  Photo- 
gram:  Light  Ornaments  on  the  Plate, 
Copying  without  a  Negative,  A  Camera 
with  No  Lens,  Lenses  from  Spectacles, 
Natural  Crystals,  Ice  Spangles,  Multi- 
plying the  Lens  with  Prisms,  What  Glass 
Sheets  will  Do,  Through  the  Looking 
Glass,  Photographic  Ornaments,  Print- 
ing on  Silk,  Lettering  and  Picturing  To- 
gether, Letters  without  Pen  and  Pencil, 
Plate-Sunk  Mounting  Cards.  There  are 
more  illustrations  than  pages  and  many 
are  full  page. 

"There  are  hundreds  of  secrets  in 
photographic  practice  that  have  never 
before  been  described  in  photographic 
text  books,"  declares  the  announcement 
on  the  jacket.  "This  is  the  first  time  a 
book  with  such  comprehensive  material 
and  such  an  unlimited  supply  of  new 
ideas,  new  methods,  new  effects  and  new 
vistas,  has  been  offered  to  amateurs  and 
professionals;  a  book,  in  fact,  that  will 
help  numberless  photographers  over  the 
high  wall  that  divides  the  'ordinary' 
from  the  'unusual'  and  'effective.'  " 

The  same  publisher  also  has  issued  a 
second  quartet  of  booklets  of  about  50 
pages  each  in  its  series  of  The  Photo 
Guide.  All  are  translations  from  the  Ger- 
man, three  of  them  by  P.  C.  Smethurst 
and  the  fourth,  "Vivid  Portraits,"  by  Mil- 
dred Gillars.  The  three  other  booklets  are 
"How  to  Enlarge,"  "Light  Filters"  and 
"Action  Snapshots."  The  price  for  The 
Photo  Guides  is  50  cents  each. 

The  pages  of  these  pocket-sized  book- 
lets are  freely  illustrated  and  contain 
much  matter  that  is  both  informing  and 
interesting. 


132     American  Cinematogbapher  • 


March,  1938 


CLASSIFIED  ADVERTISING 


Freund  Wins  Honors 

(Continned  from  Page  !)2) 

ticular  attention  to  the  telegram,  assum- 
ing the  American  concern  was  aware 
of  the  methods  employed  to  sensitize 
the  raw  stock  and  which  of  course  had 
been  done  just  prior  to  the  exposing. 
At  that  time  Freund  had  his  own  labora- 
tory with  ten  assistants. 

Here  was  done  all  the  developing  as 
well  as  the  printing  for  the  rushes  and 
for  the  first  print.  Later,  however,  Ufa 
made  attractive  offers  to  his  best  men 
and  established  its  own  laboratory. 

Karl  Freund's  first  work  in  the  picture 
business  was  as  a  boy  in  1906,  when  he 
began  the  operation  of  a  projection  ma- 
chine. At  that  time  there  were  no  studios 
in  Germany,  practically  all  of  them  in 
Europe  being  in  France.  Among  the  lead- 
ers weie  Pathe  and  Gaumont.  The  first 
studio  in  Germany  was  established  in 
1907-8. 

It  was  in  1909  the  projectionist 
switched  to  the  camera,  his  first  work 
being  on  newsreel  work  with  Pathe.  In 
the  following  year  he  made  his  first 
feature  in  Belgrade,  Jugoslavia,  a  pic- 
ture for  the  King.  Then  he  went  to  Vien- 
na, to  Sascha  Film. 

In  1912  the  now  full-fledged  camera- 
man returned  to  Germany,  where  with 
Union  F'ilm  he  remained  until  the  out- 
break of  the  war  in  1914.  Then  in  1916 
he  went  to  Messter  and  in  1918  to  Ufa, 
the  big  German  producing  organization, 
with  which  he  remained  for  ten  years 
and  under  the  banner  of  which  he  did 
much  of  the  creative  work  that  brought 
th3  woild  to  his  door. 

It  was  in  1926  Freund  received  his 
first  direct  American  recognition,  being 
engaged  by  William  Fox  as  European 
production  manager.  In  1928  he  photo- 
graphed Elizabeth  Bergner  Productions. 
It  was  while  on  that  engagement  he  was 
signed  by  Dr.  Kalmus  of  the  Technicolor 
company  to  come  to  Hollywood. 

Besides  Freund's  work  at  the  camera 
in  the  United  States  he  has  returned  to 
directing  for  eight  productions — seven  for 
Universal  and  one  for  MGM.  Among 
those  for  Universal  were  "Mummy," 
"Moonlight  and  Pretzels,"  and  "Gift  of 
Gab."  For  MGM  he  directed  "Mad 
Love." 

Among  the  more  recent  subjects 
Freund  has  photographed  besides  "The 
Good  Earth"  are  "Conquest,"  "Parnell' 
and  a  part  of  "Camilla." 


Academy  Annual  Award 
Gathering  Touches  Height 

IT  WAS  20  minutes  short  of  2  o'clock 
in  the  morning,  March  11,  when  Pres- 
ident Frank  Capra's  gavel  fell  on 
the  ceremonies  attending  the  tenth  an- 
nual award  of  the  Academy  of  Motion 
Picture  Arts  and  Sciences.  Up  to  that 
moment  none  had  departed. 

It  had  been  an  unusual  night — even 
for  veterans  of  spectacular  motion  pic- 
ture affairs.  Very  easily  it  might  have 
been  classified  as  a  great  night.  The 


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description  would  have  fallen  easily  on 
the  side  of  truth. 

On  the  spectacular  side  there  was  the 
Biltmore  Bowl  jammed  to  the  rim  with 
1300  celebrants.  For  celebrants  they 
were — and  in  holiday  mood. 

They  were  all  set  for  comedy  along 
with  the  unavoidable  serious  moments 
until  Bob  Burns  reminded  the  great 
house  there  was  drama  all  around  them. 

Fireworks  of  the  verbal  sort  there 
were  aplenty — but  while  there  was  a 
wealth  of  sparkle  there  was  no  heat. 

Edgar  Bergen,  A.S.C.,  when  called  on 
to  accept  a  special  award  "for  his  out- 
standing comedy  creation,  Charlie  Mc- 
Carthy," brought  Charlie  to  the  ros- 
trum in  response  to  calls  from  the  house 
and  the  riot  started  all  over  again. 
Charlie  seemed  to  have  something  press- 
ing on  his  chest.  His  quite  emphatic 
remark  as  he  withdrew  gave  a  cue 
to  the  note  of  peevishness  behind  his 
appearance: 

"I've  been  drinking  to  Mr.  Bergen's 
health  all  evening  —  and  damned  near 
ruined  my  own." 

Great  names  crackled  on  the  lips  of 
those  who  for  the  moment  were  at  the 
rostrum.  Walt  Disney  took  two  awards 
— one  of  them  six  in  a  row.  Bob  Burns 
introducing  the  modest  Irvin  Berlin  was 
a  moment — perhaps  for  both  as  well  as 


AKELEY  AUDIO  CAMERA  Model  G-3  with  five 
Raytar  2.3  lenses.  Akeley  gyro  tripod  majfa- 
zines  and  cases  like  new;  unusual  bargain  for 
interested  party;  details  on  r<  quest.  Ruby 
Camera  Exchange,  729  Seventh  Ave.,  New  York 
City. 


FOR  SALE  BY  OWNER    COMPLETE  AKELEY 
Camera,  with  2,  3,  6,  12-inch  lenses,  Akeley 

tripod,  10  magazines,  carrying  cases,  etc.  Write 
.J.  C.  Adams,  Midwest  Bldg.,  Okia  City.  Okla. 


INVENTORY  SALE !— AKELEY,  2"  ZEISS  f3  5 
matched  lenses,  2 — 200-ft.  magazines,  carrvin;' 
c;ihe  .tripod,  late  serial  number,  like  new,  bar- 
gain price!  Also  8 — 9'-.-16mm.  Bargains.  CTta- 
logs  free.  16mm  Silent,  SoF  library.  MOGULL'S. 
1941-AC,  Boston  Road,  N.  Y.  C. 


EQUIPMENT— FOR  SALE  AND  RENT 


MITCHELL,  BELL  &  HOWELL,  AKELEY,  DE- 
BRIE. EYEMOS.  Cash  for  your  used  '6  fnH 
3.5mm.  cameras.  Camera-Mart,  Inc.,  110  West 
40  St.,  New  York. 


WANTED 


WE  PAY  CASH  FOR  YOUR  USED  CAMERA 
LABORATORY    AND    STUDIO  EQUIPMENT. 

Write,  wire  or  cable 
MOTION    PICTURE    CAMERA    SUPPLY,  INC. 
723  Seventh  Avenue,  New  York  City 


WANTED :  We  pay  cash  for  everything  photo- 
graphic. Send  full  information  and  lowest  cash 
prices.  HOLLYWOOD  CAMERA  EXCHANGE. 
1600  Cahuenga  Blvd.,  Hollywood.  Calif. 


9', MM  (PATHEXl  NEW  OR  USED  EXHIBI- 
tion  films,  empty  spools,  accessories,  etc. 
Highest  prices  paid  for  original  9',.i'T"in  nega- 
tives, scenics,  travel,  scientific,  Cf)medy,  car- 
toons, cur)ositie.s,  oddities,  news,  etc.,  long  or 
short,  complete  or  not.  M.  H.  SCHOENBAUM. 
Headquarters  for  9Vimm  Movies.  Plainfield, 
New  Jersey,  U.  S.  A. 


WANTED  TO  BUY  FOR  CASH 

CAMERAS  AND  ACCESSORIES 
Mitchell.  B  &  H.  Eyemo,  DeBrie.  Akeley. 
Also   Laboratory   and   Cutting   Room  Equipment. 

CAMERA  EQUIPMENT,  INC. 
1600  Broadway.  New  York  City      Cable:  Cinequip 


for  the  house,  De  Mille  was  at  his  remi- 
niscent and  literary  best. 

Following  the  dinner  Hal  Hall,  on  be- 
half of  the  Academy,  presented  Frank 
Capra,  who  shortly  introduced  Cecil 
De  Mille  as  opening  master  of  ceremo- 
nies. 

In  presenting  the  award  for  cinema- 
tography to  Karl  Freund  for  MGM's 
"Good  Earth"  the  speaker  eulogized  the 
work  of  all  cameramen,  reverting  for  a 
moment  to  happenings  of  earlier  days. 

Freund  in  responding  named  as  con- 
tributive  to  the  picture's  quality  Clyde 
Da  Vinna  and  Charles  Clarke  as  well  as 
Ray  Ramsey,  the  operative  cameraman, 
and  crew. 

Among  the  awards  were  those  for: 

Production — "The  Life  of  Emile  Zola," 
Warner  Brothers-First  National.  Actor 
— Spencer  Tracy  for  "Captains  Courage- 
ous," MGM.  Actress — Luise  Rainer  for 
"The  Good  Earth,"  MGM. 

Directing  —  Leo  McCarey  for  "The 
Awful  Truth,"  Columbia.  Writing  origi- 
nal story  —  William  A.  Wellman  and 
Robert  Carson  for  "A  Star  Is  Born," 
Selznick,  U.  A.  Sound  Recording — "Hur- 
ricane," Samuel  Goldw^Ti,  U.  A.,  Thomas 
Moulton. 

Irving  G.  Thalberg  Memorial  Award — 
Darryl  F.  Zanuck. 


Society  of  Amateur 
Cinematographers 

CHARTER  MEMBERSHIP 
CLOSED 

THERE  WILL  BE  ONLY  1000 
REGULAR  MEMBERSHIPS 
AVAILABLE- 
THEN  THE  MEMBERSHIP  WILL 
BE  CLOSED 

Fee  $5.00  a  Year 

^  ^  ^ 

Membership  will  include  a  subscription  to  the 
American  Cinematographer.  It  also  will  include 
the  use  of  the  outstanding  films  made  by  members 
of  the  Society  of  Amateur  Cinematographers.  If 
films  are  submitted,  the  best  will  be  duplicated  and 
an  analysis  prepared  by  members  of  the  American 
Society  of  Cinematographers.  This  analysis  will  go 
with  the  picture  and  the  picture  will  be  available  to 
any  member  of  the  Society  of  Amateur  Cinema- 
tographers. 

Technical  consulting  service. 

Film  review  service.  Send  your  films  if  you  like  for 
criticism  and  review  by  the  acknowledged  camera- 
masters  of  the  world,  by  Hollywood's  greatest 
Directors  of  Photography. 


Society  of  Amateur  Cinematographers 
1782  North  Orange  Drive 

Hollywood,  Calif.  Date  

I  hereby  apply  for  membership  in  the  Society  of  Amateur 
Cinematographers.  My  remittance  for  $5.00  made  payable 
to  the  Society  includes  the  payment  of  dues.  Of  this 
amount  $2.50  is  to  apply  to  a  year's  subscription  to  the 
American  Cinematogrtpher. 

MEMBERSHIP— $5.00  a  year 


Name  

Street   

City   State  

Please  print  name  and  address 


"JUMPY" 

PICTURES 

are  OUT 


When  You 
Steady  Your 
Camera 

With  the 


DfrHTt 


Req.  U.  S.  Pjt.  Off, 


UNIPOD 


Wobbly  pictures  are  a  disappointment.  Steady  your 
camera  with  the  Da-Lite  Unipod!  It  is  made  in  two 
styles — No.  1,  which  rests  upon  the  ground — ^No.  2, 
which  has  a  strap  to  hang  around  the  neck  and  rests 
against  the  body.  Each  model  consists  of  two  telescop- 
ing, aluminum,  tubular  members  which  can  be  quickly 
adjusted  to  the  proper  length  to  bring  the  camera  to 
eye-level.  No.  1  weighs  only  1  pound;  No.  2  only  10 
ounces.  See  at  your  dealer's  or  write  for  literature 
on  the  Unipod,  Da-Lite  Screens  and  other  accessories! 

Da-Lite  Screen  Co.,  Inc. 

Dept.  A.  C,  2721   North  Crawford  Avenue,  Chicago,  III. 


Da-Lite 
UNIPOD 


Da-Lite  Unipod  No.  1 
is  as  light  and  easy 
to  carry  as  a  walking 
stick.  Collapsed,  it  is 
34V2  inches  long  and 
extends  to  any  height 
up  to  60  inches. 


UNIPOD 

Closed 


Da-Lite  Unipod  No.  2 

collapsed,  is  11  inches 
long  and  extends  to 
eye-level.  In  both 
models  a  screw  in  the 
top  holds  the  camera 
securely  in  place. 
Pick  the  style  you 
want  and  shoot  steady 
pictures  every  time. 
Either  model  will 
soon  pay  for  itself  in 
film  saved. 


Shooting  with  a 

MITCHELL 

insures  the  use  of 
every  mechanical  help 

yet  devised  in  a 
motion  picture  camera 


Mitchell  Camera  Corporation 

665   NORTH   ROBERTSON  BOULEVARD 
WEST  HOLLYWOOD,  CALIF. 

Cable  Address  "MITCAMCO"  Phone  OXford  1051 

AGENCIES 

BELL  &  HOWELL  CO.,  LTD.,  London,  England  MOTION  PICTURE  CAMERA  SUPPLY,  INC.,  New  York  City 

CLAUD  C.  CARTER,  Sydney,  Australia  BOMBAY  RADIO  CO.,  LTD.,  Bombay,  India 

D.  NAGASE  &  CO.,  LTD.,  Osaka,  Japan  H.  NASSIBIAN,  Cairo,  Egypt 


.  mm 


Du  Pont  film  base  support  is 
remarkably  tough  and  durable. 
This  is  the  reason  why  Du  Pont 
cine  film  products  are  so  very 
long  wearing  and  scratch 
resistant- 

For  better  results  try  Du  Pont 
in  your  next  production. 


Du  Pont  Film  Manufacturing  Corporation 

INCORPORATED 

9  Rockefeller  Plaza  SMITH  &.  ALLER,  LTD. 

New  York.  .  .  .  N.  Y.  6656  Santa  Monica  Blvd. 

Plant  .  .  Parlin,  N.J.  Hollywood  .  .  .  California 


BETTER  THllSQS  for  BETTER  LIVINQ  through  CHEMISTRY 


April,  1938    •    American  Cinematographer  133 


A  ''stiir'  interlude  during  the  shooting  of  paramount'S  new 
Bing  Crosby  musical,  "dr.  rhythm/' reminds  us  to  remind  you  that— 


G-E  MAZDA  lamps  are  VERSATILE 


\ou  can  use  G-E  MAZDA  lamps 
to  light  the  whole  set,  as  in  this  scene 
from  "Dr.  Rhythm." 

You  can  use  them  effectively  for  close- 
ups.  And  G-E  Mazda  lamps  are  espe- 
cially handy  when  space  is  cramped, 
because  you  can  put  them  under  a 
chair,mount  them  on  the  camera  dolly, 
or  mount  them  on  parallels. 

You  can  mix  G-E  MAZDA  lamps  with 
arcs  or  daylight  .  .  .  and  be  sure  that 
your  light  will  blend. 


You  can  use  them  for  process  work 
.  .  .  and  for  special  effects. 

They're  good  for  black-and-white; 
and  they  are  good  for  color. 

And  there  are  some  9,000  different 
types  and  sizes  of  G-E  MAZDA  lamps, 
upon  which  you  can  call  to  produce 
any  lighting  effects  you  desire. 

Are  you  benefitting  fully  from  this  ver- 
satility and  flexibility.'  General  Electric 
Company,  Nela  Park,  Cleveland,  Ohio. 


A\oiieflood 


GENERAL  ^  ELECTRIC 

MAZDA  LAMPS 


134      American  Cinematographer    •    April,  1938 


If  Mr.  Hyde  had  been  a  good  man... 


IF  MR.  HYDE  had  been  a  good  man 
then  we  might  have  compared 
the  new  Eyemo  with  the  swift- 
changing,  dual  personality  of  Dr. 
Jekyll  and  Mr.  Hyde.  The  new 
Eyemo  is  capable  of  similarly  amaz- 
ing quick  and  complete  transforma- 
tions— but  in  all  of  its  many  phases 
it  is  always  good. 

From  a  handy,  spring-driven  hand 
camera,  the  Eyemo  may  be  quickly 
converted  by  attachments  to  cope 
with  every  professional  demand — 
a  superb,  versatile  35  mm.  movie 
camera  ready  for  any  emergency  in 
field  or  studio. 


What  will  you  have?  A  swift  shift 
of  lenses.' .  .  .  conversion  from  100- 
foot  film  capacity  to  200-  or  400- 
foot  magazines?  ...  a  tripod  mount 
or  a  light,  easy-to-handle  hand  cam- 
era? ...  a  change  from  electric  to 
spring  or  hand  drive  when  con- 
venience dictates?  ...  a  camera  for 
silent  film  or  a  hookup  for  sound? 
.  .  .  slow  motion  or  silent  or  sound 
speeds?  Whatever  the  demand,  the 
new  Eyemo  is  there  to  meet  it. 

Made  with  typical  Bell  &  Howell 
precision  and  yet  with  a  sturdiness 
that  gives  it  unmatched  depend- 
ability in  the  strenuous  work  for 


which  it  is  designed.  Such  features 
as  three-lens  turret,  focusing  and 
diaphragm  controls  visible  through 
the  spyglass  viewfinder,  inter- 
changeability  of  motors,  standard 
S.M.P.E.  sound  aperture,  and  vibra- 
tionless  governor  assuring  accurate 
speeds  make  the  new  Eyemo  dis- 
tinctively superior  in  the  field  of 
portable  cameras — an  instrument  of 
unexcelled  performance  universally 
popular  with  newsreel  cameramen, 
explorers,  and  other  professional 
photographers. 

Write  for  detailed  information — 
it  will  be  mailed  without  obligation. 


BELL  &  HOWELL  COMPANY 

1848  LARCHMONT  AVENUE,  CHICAGO 

NEW  YORK:  11  WEST  42d  STREET      •     HOLLYWOOD:  716  NORTH  LA  BREA  AVENUE 
LONDON:  13-14  GREAT  CASTLE  STREET 

Established  1907 


BELL    &  HOWELL 


BELL  &  HOWELL  COMPANY  ac  4-38 

1848  Larchmont  Ave.,  Chicago,  Illinois 

Please  mail  me  a  copy  of  your  □  Eyemo 
catalog,  □  Taylor-Hobson  Cooke  lens  catalog. 


Name . . . 
Address. 
Oty  


.State. 


April,  1938    •    American  Cinematographer  135 


AMERICAN 
CINEMATOGRAPHER 


A  Technical  and  Educational  publication 
on  motion  picture  photography. 

Published  monthly  by  the 
AMERICAN  SOCIETY 
OF  CINEMATOGRAPHERS,  INC. 
1782  North  Orange  Drive 
Hollywood  (Los  Angeles),  California 

Telephone  GRanite  2135 

VICTOR  MILNER,  President. 
FRED  W.  JACKMAN,  Treasurer. 


Vol.  19 


April,  1938 


No.  4 


Contents 

Threescore  De  Mille  productions  in  25 

years  gross  130  millions  136 

By  William  Hebert 

Toland's  "Dead  End"  selected  in  caucus 
as  one  of  year's  three  best  photo- 
graphed pictures   141 

Herman  A.  De  Vry  Company  celebrates 
25  years  in  business  142 

What  About  Me?  145 

By  Bee  Gee,  A.  S.  C. 

Low  key  lighting  may  be  as  easy  in 

color  as  it  is  in  monochrome  146 

By  W.  Howard  Greene,  A.  S.C. 

Farnham  and  associates  honored  by 
General  Electric  subsidiary  147 

Frank  Capra  and  Norman  Alley  guests 
at  A.  S.  C.  Gettogether. .  .".  148 

Art  Reeves  resumes  activity  in  Camera 
Supply   149 

Agfa  extends  availability  of  fast  emul- 
sions  150 

Research  Council  names  process  com- 
mittee 152 


The  Front  Cover 

BETTE  DAVIS  and  George 
Brent  are  shown  on  the  cover 
in  a  scene  from  "Jezebel"  at  the 
Warner  studio.  Director  William 
Weyler  by  the  side  of  the  camera 
earnestly  studies  the  portrayal  of 
the  two  players.  Ernest  Haller, 
A. S.C,  directs  the  photography. 
Mack  Elliott  photographed  the 
still. 


The  Staff 


EDITOR 

George  Blaisdell 

WASHINGTON 
STAFF  CORRESPONDENT 
Reed  N.  Haythorne,  A.  S.  C. 

TECHNICAL  EDITOR 
Emery  Ruse,  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 

Victor  Milner,  A.  S.  0. 
James  Van  Trees,  A.  S.  C. 
Fred  W.  Jackman,  A.  S.  C. 
Farciot  Edouart,  A.  S.  C. 
Fred  Gage,  A.  S.  C. 
Dr.  J.  S.  Watson,  A.  S.  C. 
Dr.  L.  A.  Jones,  A.  S.  C. 
Dr.  C.  E.  K.  Mees,  A.  S.  0. 
Dr.  W.  B.  Rayton,  A.  S.  C. 
Dr.  Herbert  Meyer,  A.  S.  C. 
Dr.  V.  B.  Sease,  A.  S.  C. 

CIRCULATION  MANAGER 

L.  F.  Graham 

NEW  YORK  REPRESENTATIVE 

S.  R.  Cowan,  19  East  47th  St.,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 

Georges  Benoit,  100  Allee  Franklin. 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 

AUSTRALIAN  REPRESENTATIVE 

McGill's,  179  Elizabeth  Street.  Melbourne. 
Australian  and  New  Zealand  agents. 

Neither  the  American  Cinematographer  nor 
the  American  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. This  magazine  will  not  be  respon- 
sible for  unsolicited  manuscripts. 


ESTABLISHED  1920.  Advertising  Rates  cn  application.  Subscription:  United  States,  $2.50  a  year;  Canada  and  the  Pan-American  Union.  $2.50  a  year; 
Foreign,  $3.50  a  year.  Single  copies,  25  cents;  back  numbers,  30  cents;  foreign,  single  copies,  35  cents;  back  numbers,  40  cents.  COPYRIGHT  1938  by 
American  Society  of  Cinematographers,  Inc. 


Entered  as  second  cla.'-'!  matter  November  18,  1937,  at  the  post  office  at  Los  Angeles,  California,  under  the  Act  of  March  3,  1879. 


13G     American  Cinematograi'Her    •    Ai)ril,  \<XiH 


Threescore  De  Milk  Productions 
in  25  Years  Gross  130  Millions 

story  of  Actor-Director-Showman  Who  Has  Contributed 
Much  to  Screen  of  Today  Because  in  Young 
Industry  He  Had  Vision  to  See 
and  Courag-e  to  Act 


A MAN  whose  sixty-four  films  have 
grossed   more  than  $13(),0()(),()()0 
today  looks  back  on  twenty-five 
years  of  achievement  in  motion  pictures. 

His  name,  Cecil  B.  DeMille,  is 
the  standard  of  the  spectacular 
in  entertainment.  It  is  the  sym- 
bol of  showmanship;  the  mark 
of  great  direction  and  great  ex- 
ploitation, and  in  the  glitter  of 
its  world  renown  people  some- 
times forget  that  he  is  more 
than  a  showman. 

But  when   the  records  have 
been  sifted  it  will  be  found  he 
towers  among  the  pioneers  as 
a  contributor  of  screen  magic. 
And  many  innovations  ob- 
scured now  by  their  own  fa- 
miliarity can  be  traced  to  him. 
De  Mille,  for  example,  was 
the  first  to  print  a  cast  of  char- 
acters on   the   screen.   Up  till 
then  you  guessed  who  was  in 
the  picture.  Aside  from  the  star 
and  perhaps  one  or  two  fea- 
tured players,  you  knew  no  one 
—Until   De   Mille   came  along 
with  his  system,  borrowed  from 
theater    programs,    of  giving 
credit  where  credit  was  due. 
And  soon  his   method  be- 
came standard  for  all  films. 

Great  Players 

Another  mark  of  his  early 
work  was  his  insistence  on  great 
players  in  great  plays.  With 
this  he  did  more  than  can  be 
estimated  to  elevate  the  movies 
from  a  novelty  to  an  art. 

There  are  those  still  alive  who 
remember  when  it  was  enough  that  a 
picture  moved.  It  didn't  have  to  have 
story  if  it  had  action.  Cowboys  chased 
Indians  through  a  rain  of  celluloid 
scratches  and  that  was  thrill  enough. 
But  you  couldn't  base  an  enduring 
art  on  it. 

De  Mille  and  his  associates,  Lasky  and 
Goldwyn,  brought  such  personalities  as 
Dustin  Farnum,  Geraldine  Farrar  and 
Wallace  Reid  into  films  in  a  day  when 
celluloid's  best  use  was  in  making  col- 
lars and  glamour  was  Just  an  old  Scotch 
word  meaning  "a  spell  cast  by  magic." 

For  their  first  picture  they  bought 


By  WILLIAM  HEBERT 

Edwin  Milton  Royle's  successful  play 
"The  Squaw  Man" — though  they  had  to 
buy  it  "on  time."  To  compete  with  De 
Mille,   Lasky   and    Goldwyn,  opposition 


Cecil  B.  De  Mille 

had  to  make  as  good  or  better  pictures. 
And  though  De  Mille  often  says,  "Com- 
petition is  responsible  for  most  of  the 
advances  made  in  motion  pictures"  .  .  . 
it  was  very  often  competition  from  De 
Mille. 

Insists  on  Story 

He  insisted  then,  and  he  insists  now, 
on  "story."  He  frequently  says,  "There 
is  nothing  the  matter  with  the  picture 
business  that  good  pictures  can't  cure." 
And  again,  "The  only  thing  you  can 
safely  predict  about  pictures  is  that 
good  pictures  will  always  make  money 


and   bad   ones   lose   it."    His  regula- 
tion method  of  making  good  pictures 
is  to  get  a  good  yarn  before  he  starts 
ca.sting  and  make  it  "foolproof"  before 
he  starts  shooting.  This  may 
account  for  his  amazing  rec- 
ord of  successes. 
His  obtaining  Geraldine  Far- 
rar for  "Joan  the  Woman"  and 
"Carmen"  was  one  of  the  mas- 
terstrokes  of  showmanship  in 
Hollywood  history. 

Up  to  then  celebrities  had 
frowned  on  the  fi'ms  as  a  low- 
pursuit,  but  De  Mille  changed 
all  that  by  putting  one  of  the 
world's  greatest  figures  in  them. 
He  also  shot  his  first  big  scenes 
of  battle  and  pageantry  in  "Joan 
the  Woman."  And  the  stills  show 
that  they  would  be  big  scenes, 
finely  photographed,  even  today. 

De  Mille  has  always  been 
"camera-conscious"  and  worked 
hard  to  perfect  camera  tech- 
nique. He  first  became  aware 
of  composition  when  his  father 
took  him  to  an  exhibition  of  the 
works  of  Dore.  He  must  then 
have  been  about  five  years  old, 
but  Dore's  works  still  influence 
him.  And  he  hires  artists  like 
Dan  Sayre  Groesbeck,  skilled  in 
composition  and  bold  execution, 
to  help  him  plan  each  frame 
he  shoots. 

Starts  Early 

When  he  was  about  nine  he 
went  often  to  the  old  Jacobs 
book  store  on   Eighth  avenue 
near  Twentieth  street,  in  New 
York,  and  bought  cardboard  strips  of 
soldiers,  cowboys,  Indians,  "Buffalo  Bill" 
and  Wild  Bill  Hickok,  whom  he  was  later 
to  immortalize  on  the  screen  in  "The 
Plainsman."    Cutting  them  out  of  their 
background    he    would    arrange  them, 
standing  against  his  own  "stage"  setting. 

He  bought  and  enjoyed  one  of  the 
first  Kodaks — an  object  about  the  size 
of  Phil  Baker's  accordion  which  required 
more  focusing  than  a  ten-cent  pair  of 
opera  glasses.  And,  prophetically,  this 
camera  brought  his  first  taste  of  fame. 

Living  at  Pompton  Lake,  N.  J.,  and 
still  in  his  teens,  he  went  out  to  the 


April,  1938    •    American  Cinematographer  137 


dam  at  Lake  Ramapo  to  take  a  picture 
of  the  flood  waters.  But  when  he  ar- 
rived he  found  that  the  danger  to 
Pompton  was  much  more  severe  than 
he  had  anticipated.  Residents  were  pray- 
ing that  the  dam  would  go  out  so  that 
Pompton  wouldn't  go  under. 

Being  the  only  one  with  a  horse,  the 
young  De  Mille  was  asked  to  ride  15 
miles  to  the  cap  works  at  Haskell  and 
bring  back  a  charge  of  dynamite.  Only 
too  glad  to  be  an  actor  in  such  a  drama 
De  Mille  intrusted  his  precious  camera 
to  a  man  standing  there  and  rode  off 
with  the  case  slung  over  his  shoulder. 

Real  Melodrama 

Several  hours  later  he  was  back,  rear- 
ing on  his  steed  with  a  mighty  smit- 
ing of  sparks  from  the  earth,  and  sur- 
rendered the  camera  case  full  of  dyna- 
mite to  a  burgher. 

The  men  took  the  dynamite  and  blew 
up  the  dam — and  De  Mille  became  a  local 
hero. 

His  first  movie  camera  came,  of  course, 
years  later.  He  had  seen  the 
early  flickers  in  the  Eden  Musee 
and  didn't  think  much  of  their 
possibilities — which  is  not  sur- 
prising for  a  man  who  predicted 
that  there  would  never  be  a 
horseless  carriage,  after  his  col- 
lege mate  blew  his  hand  off  try- 
ing to  invent  one. 

But  he,  Lasky  and  Goldwyn 
had  been  forced  into  the  new  me- 
dium by  their  inability  to  make 
any  substantial  gains  in  other 
fields.  The  story  of  their  early 
struggles,  their  capitalizing  for 
S20,000  and  their  tribulations 
in  bringing  out  "The  Squaw 
Man"  has  been  told  many  times, 
but  the  story  of  "Rembrandt 
lighting"  will  bear  retelling: 

Rembrandt  Lighting 

Always  experimenting,  De 
Mille  decided  one  day  to  do 
something  besides  shoot  scenes 
in  which  the  far  corners  of  the 
set  were  as  brightly  lighted 
as  the  foreground.  For  a  spot- 
light he  sent  down  to  the  Mason 
Opera  House  in  Los  Angeles, 
which  he  had  helped  open  as  one 
of  Francois  Villon's  vagabonds 
in  "If  I  Were  King." 

When  it  arrived  he  set  it  up 
on  the  outdoor  stage  of  the  stu- 
dio at  Selma  and  Vine  and  at- 
tempted to  photograph  an  ac- 
tor's face  half  in  light  and  half 
in  shadow.  They  told  him  he  couldn't 
do  that,  but  he  did. 

When  the  completed  picture — it  was 
"The  Warrens  of  Virginia" — was  shown 
in  New  York,  Samuel  Goldwyn  wired 
him,  "What  kind  of  a  picture  is  this? 
You  can  only  see  half  the  actor's  faces, 
so  the  exhibitors  only  want  to  pay  half 
price." 

De  Mille  thought  fast  and  wired 
back.  "Can  I  help  it  if  you  don't  know 
Rembrandt  lighting  when  you  see  it?" 

Goldwyn,  quick  to  capitalize  on  a 
showmanlike  selling  angle,  wired  back. 


"If  that's  what  is  is,  they'll  pay  dou- 
ble for  it." 

And,   sure   enough,   they  did. 

Many  Contributions 

It  would  be  impossible  to  measure  all 
of  De  Mille's  contributions  to  the  movies' 
art,  but  artificial  lighting  thus  became 
one  of  them.  His  others  include  boom 
rhots,  his  first  boom  having  been  a 
plank  with  the  camera  nailed  to  the 
end  of  it. 

De  Mille  was  often  as  unorthodox  in 
his  choice  of  material  and  stars  as  he 
was  in  his  triumphs  over  technical  dif- 
ficulties. When  810,000  was  the  top 
budget  for  a  big  picture,  he  spent  $20,- 
()()(),  with  consequent  growth 
(  ffice  and  prestige. 

Maker  of  Stars 

He     saw     Gloria  Swanson 
against  a  door  in  a  Mack  Sam 
edy,   thought  she  had  somethi 
for  her  and  made  her  the  mos 
iloquent  glamour  girl  of  her  ( 


De  Mille  f(.s  a  i/OHrig  U'dditu, 

took  blond  Wallace  Reid,  who 
a  bit  player  in  "The  Birth  of  a 
and  built  the  greatest  of  the 
early  matinee  idols. 

Bebe  Daniels,  Agnes  Ayres 
Hayakawa,  Thomas  Meighan,  '. 
gri,  Ramon  Novarro,  Russ 
Jack  Holt,  Leatrice  Joy,  Bi 
Charles  Bickford,  Charles  Laug 
many  more  followed  under  the 
aegis  to  fame. 

Always  persuaded  that  daring 
first  principle  of  showmanship, 
made  the  social  dramas,  "Don't 


Your  Husband"  and  "Why  Change  Your 
Wife?"  which  preached  against  divorce 
when  divorce  was  the  hottest  topic  in 
American  life. 

Made  inexpensively  with  such  stars 
as  Elliot  Dexter,  cigar-chewing  Tlieo- 
dore  Roberts  and  Gloria  Swanson,  these 
pictures  were  sensational,  to  say  the 
least,  and  were  correspondingly  suc- 
cessful. 

He  also  made  the  first  of  his  eleven 
bathtub  scenes  in  the  above  pictures  and 
launched  the  reputation  for  lavishness, 
color,  sophistication  and  bizarre  exoti- 
cism which  he  still  retains. 

Picture  Without  Star 


in  box 


leaning 
ett  coni- 
ng, sent 
t  grand- 
lav.  He 


I  man 

had  been 
Nation," 
screen's 

,  Sessue 
Pola  Ne- 
Columbo, 

II  Boyd, 
hton  and 
De  Mille 

:  was  the 
De  Mille 
;  Change 


When  the  "star  system"  began  to  make 
inroads  on  the  producers'  profits  it  was 
De  Mille  who  was  called  upon  to  save 
the  De  Mille-Lasky-Goldwyn-Zukor  out- 
fit. Mary  Pickford,  Douglas  Fairbanks 
and  others  had  pulled  out  to  make  their 
own  pictures,  and  were  demanding  such 
enormous  salaries,  for  their  day,  that  no 
one  could  aff'ord  to  hire  them  anyway. 

De  Mille  went  to  his  associ- 
ates and  told  them  he  could 
make  a  picture  without  any 
stars  that  would  have  a  world- 
wide appeal,  if  they  would  let 
him  go  ahead.  They  w-?re  will- 
ing, until  they  heard  the  sub- 
ject —  "The  Ten  Command- 
ments." 

It  was  axiomatic  in  show 
business  that  religion  was  not 
"good  theatre,"  and  the  powers 
pulled  long  faces.  De  Mille 
talked  calmly  to  them  until  they 
showed  a  disposition  to  be  firm, 
then  he  roared  and  told  them 
he  was  going  ahead  anyway. 

Taking  several  thousand  ex- 
tras out  into  the  desert,  he  be- 
gan filming  his  first  great  spec- 
tacle— at  a  cost  of  about  $200,- 
000  a  week.  This  was  more  than 
had  ever  before  been  spent  on 
an  entire  picture,  and  he  was 
spending  it  for  just  one  se- 
quence. 

When  he  came  in  with  the 
footage,  Lasky  wanted  to  break 
his  contract.  He  was  bankrupt- 
ing the  company,  Lasky  told 
him,  and  they  had  a  bitter  fight. 
Somewhere,  De  Mille  raised  a 
million  dollars  and,  purely  as  a 
gesture,  walked  in  and  laid  it 
on  Lasky's  desk. 

"I'll  buy  myself  and  the  pic- 
ture out  of  the  company  right 
now,"  he  said. 
Lasky  looked  at  the  money  and  his 
first  impulse  was  to   sell.    But  in  his 
office  was  Frank  Garbutt,  a  Los  An- 
geles   businessman,    who    said:  "Jesse, 
don't   ever   sell    anything    you  haven't 
seen." 

Lasky  Reconsiders 

Lasky  reconsidered  and  let  De  Mille 
go  ahead.  The  result  was  a  picture 
the  success  of  which  astounded  even  its 
director.  De  Mille  and  Louis  B.  Mayer 
have  been  arguing  for  years  which  is  the 
greatest  box  office  success  of  all  time, 
(Continued  on  Page  HO) 


April,  1938    •    American  Cinematographer  139 


k 


140     American  Cinkmatocrapher    •    Ap;il,  I'XiH 

Left — Jesse  L.  Ldskii,  Cecil  D.  De  Mille  (center),  Samuel  Goldwi/n.     Riylit — Gerahlwe  Farrar  and   Wallace  Reid  in  "Joan 

the  W  Oman." 


Grosses  130  Millions 

( Continued  from  Page  1J7) 

"The  Ten  Commandments"  or  "Ben 
Hur,"  and  neither  has  ever  opened  his 
books  to  the  other,  but  each  grossed 
in  the  neighborhood  of  ten  million  dol- 
lars. 

Ups  and  Downs 

Since  then  De  Mille  has  had  his  ups 
and  downs.  He  thinks  of  "Four  Fright- 
ened People,"  for  example,  with  remi- 
niscent shudders.  "After  seeing  it  on 
the  screen,"  he  says,  "I  thought  of 
calling  it  'Five  Frightened  People' — I 
was  the  fifth." 

But  he  has  made  enduring  contribu- 
tions and  some  of  the  greatest  box 
office  hits  in  movie  history  with  "The 
Sign  of  the  Cross,"  "The  Crusades," 
"Cleopatra." 


"The  King  of  Kings"  played  in  100 
theatres  in  and  around  New  York  City 
alone  this  Easter. 

Lately  he  has  turned  to  the  American 
scene,  with  such  rip-snorters  as  "The 
Plainsman"  and  "The  Buccaneer."  He 
is  next  going  to  make  "Union  Pacific," 
a  resounding  saga  of  America's  early 
railroads  and  the  opening  of  the 
West. 

He  is  56,  but  talk  of  retirement  bores 
him,  and  it  would  seem  strange  not  to 
have  him  come  out  with  one  picture  a 
year. 

However,  we  don't  have  to  worry  about 
that  for  a  while,  because  he  says  he 
is  going  to  keep  on  making  pictures  as 
long  as  he  can  find  subjects  to  inter- 
est him. 

And  he  still  has  about  100  of  them 
he  would  like  to  make. 


Wellcome  Handbook  for  1938 
Now  Ready  for  Distribution 

The  Wellcome  Photographic  Exposure 
Calculator  Handbook  and  Diary  19.38, 
published  by  Burroughs  Wellcome  &  Co., 
9  East  Forty-first  street.  New  York,  is 
now  on  sale.  "This  handbook  is  an  up- 
to-date  and  reliable  guide  to  the  actual 
practice  of  photography  and  is  designed 
to  assist  the  photographer  at  every  stage 
of  his  work,"  is  declared  on  one  of  the 
opening  pages  of  the  2.38-page  book. 
The  contents  bear  out  the  promise.  The 
little  book  is  3  by  5V2  inches  and  is 
bound  in  stout  covers. 

The  last  55  pages  of  the  book  are  de- 
voted to  exposure  and  explore  the  sub- 
ject with  all  the  thoroughness  that  may 
be  expected  of  these  publishers.  The  en- 
tire book  is  of  the  same  high  standard. 


Left — Scene  from.  "Tlie  Plainsman,"  with  Gary  Cooper  in  center.    Right — Scene  from  "The  Buccaneer,"  with  Fredric  March 

and  Francisco  Goal. 


April,  1938    •    American  Cinematographer  141 


Tolands  ''Dead  End  ^  Selected 
in  Caucus  One  of  Three  Best 


GREGG  TOLAND,  A.S.C.,  for  his 
work  in  Samuel  Goldwyn's  "Dead 
End,"  completed  in  the  summer  of 
1937,  was  honored  by  the  several  hun- 
dred selecting  technicians  of  the  Acad- 
emy of  Motion  Picture  Arts  and  Sciences 
by  being  chosen  prior  to  the  final  decid- 
ing vote  one  of  the  three  candidates  for 
chief  photographic  honor. 

The  nomination  went  to  one  of  the 
younger  generation  of  top  cameramen — 
younger,  yes,  but  still  a  veteran  of  sev- 
enteen years  around  the  cainera.  And 
that  is  practically  a  half  of  his  life. 

What  in  the  picture  business  consti- 
tutes the  unusual  and  moi'e  correctly 
the  rare  phase  of  Toland's  experience  is 
that  thirteen  of  the  seventeen  years  have 
been  in  the  service  of  one  producer — 
Samuel  Goldwyn.  There  are  few  if  any 
masters  of  the  camera  here  or  abroad 
who  can  show  a  similar  record  of  con- 
tinuous employment  under  one  man. 

Yet  that  unbroken  affiliation,  contrary 
to  what  some  authorities  might  advance 
as  a  handicap  in  the  way  of  photo- 
graphic progress  by  reason  of  absence 
of  contact  with  the  methods  of  other 
studios,  has  had  no  ill  effect  on  the 
steady  growth  of  Toland's  camera 
product. 

Owing  frequently  to  the  absence  of 
the  Goldwyn  schedule  of  a  production 
which  may  be  assigned  to  Toland  it  is 
the  custom  of  the  studio  to  "loan  out" 
the  cameraman  to  another  studio.  At 
the  time  of  the  nomination  he  was  pho- 
tographing a  Twentieth  Century-Fox 
picture,  "Kidnapped."  By  reason  of  this 
practice  the  Academy  nominee  during 
1937  passed  his  exposed  film  on  to  the 
custody  of  four  dilTerent  laboratories. 

These  have  included  MGM's  develop- 
ing and  printing  plant,  which  is  the 
home  establishment  for  Goldwyn's  film 
development.  Then  there  have  been  in 
black  and  white  the  plants  of  Para- 
mount and  Twentieth  Century-Fox.  In 
addition  there  was  the  Technicolor 
plant. 

Meets  Up  with  Technicolor 

That  experience  with  Technicolor,  by 
the  way,  was  the  cameraman's  first.  He 
stepped  into  it,  so  to  speak,  entirely 
cold  in  the  technicalities  of  color.  That 
the  production  was  an  important  one 
will  be  apparent  even  to  the  veriest  lay- 
man who  knows  the  lavish  Goldwryn  way 
— "Goldwyn  Follies" — a  subject  that 
has  been  the  recipient  of  much  praise 


Scene  from  Samuel  Goldwyn's  "Dead 
End,"  photographed  by  Gregg  Toland, 
and  selected  by  caucus  of  Academy  tech- 
nicians as  one  of  three  best  photo- 
graphed picture  for  1937 


Gregg  Toland 


for  the  beauty  of  its  screened  result. 
As  has  been  said,  Toland  began  cam- 
era work  at  the  age  of  sixteen,  starting 
soon  after  as  an  assistant  to  George 
Barnes,  A.S.C.  Two  years  later  the 
latter  entered  the  employ  of  Goldwyn 
and  Toland  went  with  him.  The  rela- 
tion between  first  camera  and  assistant 
underwent   change   through    the  grade 


of  second  until  in  due  time  the  two  men 
were  given  mutual  credit  on  their  work. 
When  six  years  ago  Barnes  left  the 
Goldwyn  employment  his  associate  re- 
mained— and  there  are  three  years  yet 
to  go  under  the  last  contract. 

There  is  one  particularly  important 
clause  in  that  contract.  The  provision 
stipulates  that  during  the  life  of  the 
contract  Toland  shall  direct  at  least 
one  film.  So  that  is  yet  to  come,  but  the 
cameraman  would  not  deny  he  is  over- 
looking no  opportunities  to  fortify  him- 
self in  the  possession  of  every  possible 
measure  of  equipment  against  the  day 
when  he  is  called  to  the  director's  post. 

"Dead  End,"  the  photographic  quality 
of  which  brought  attention  from  To- 
land's fellow-technicians,  was  made 
practically  on  one  set.  That  set  is  shown 
in  the  accompanying  engraving.  It  re- 
veals a  New  York  street,  seemingly  an 
exterior  but  in  actuality  under  a  stage 
roof. 

Creating  Daylight 

And  there  was  constituted  one  of  the 
major  barriers  of  the  photographer.  In 
the  first  place  it  should  be  mentioned 
"Dead  End"  was  an  important  picture 
— the  story  cost  alone  having  been  $160,- 
000.  Then  the  budget  ran  on  the  con- 
struction of  a  section  of  the  main  set 
to  .$62,000,  requiring  many  electricians 
and  pulling  8000  amperes  on  practically 
every  scene  exposed. 

Toland's  concern  in  the  photograph- 


142     American  Cinematographer    •    April,  1938 


ing  of  this  interior-exterior  set  was  the 
simulation  of  daylight — the  duplication 
of  Old  Sol.  In  one  instance  to  accom- 
plish an  approximation  of  his  desired 
objective,  the  creation  of  artificial  sun- 
shine, he  bunched  eight  arc  lamps  on 
one  huge  parallel  for  his  key  lighting. 

Some  of  the  major  subjects  that  have 
passed  under  the  photographic  direction 


of  the  cinematographer  were  Eddie  Can- 
tor's "Kid  from  Spain";  the  three  Anna 
Sten  pictures;  "Dark  Angel,"  "Les  Mise- 
rables,"  with  Fredric  March  and  Charles 
Lawton,  made  by  Darryl  Zanuck  at 
United  Artists,  and  "These  Three,  "Be- 
loved Enemy,"  "Come  and  Get  It"  and 
"Road  to  Glory." 

Asked   as  to  his   reaction   from  hi.s 


work  in  color  Toland  declared  it  seemed 
easier  to  photograph  than  black  and 
white.  He  admitted  his  very  definite  in- 
terest in  the  medium 

"And  the  Goldwyn  company  is  mak- 
ing two  Technicolor  pictures  this  year," 
he  concluded,  with  no  attempt  to  conceal 
his  genuine  satisfaction  in  the  anticipa- 
tion of  their  coming. 


Herman  A,  DeV Co.  Completes 
Twenty-five  Years  in  Business 

Pioneer  Head  of  Manufacturing-  Concern  Looks  In  on 
Los  Angeles  in  Course  of  Recreational  Tour 
That  Took  Him  to  Mexico  City — 16mm.  to 
Be  Contender  for  Bigger  Things, 
Says  Former  35mm.  Partisan 


HERMAN  A.  DeVRY,  who  as  pub- 
lisher of  DeVry  Movie  News  is 
something  of  a  magazine  man 
himself,  was  a  welcomed  visitor  by  the 
editor  of  the  Cinematographer  during 
the  last  week  of  March.  The  Chicago 
manufacturer  is  homeward  bound  from 
a  trip  which  has  included  ten  days  in 
Mexico  City  and  points  four  hundred 
miles  south  of  that  capital. 

Up  to  the  time  he  reached  Los  An- 
geles he  had  laid  a  taboo  on  two  things. 
One  was  the  steam  railroad,  for  the 
present  journey  he  choosing  to  tiavel  on 
his  own  wheels  all  the  way  into  Mexico 
and  around  and  about  the  big  town  and 
at  the  end  of  his  stay  to  drive  into  Aca- 
pulco  and  there  board  ship  for  Los  An- 
geles. It  was  a  fine  four-day  journey,  he 
declares. 

The  second  thing  on  which  the  Chi- 
cagoan  had  put  thumbs  down  was  on  the 
camera  and  all  its  allied  temptations  and 
distractions.  Although  he  packed  both  a 
16mm.  and  a  still  camera,  nevertheless 
he  adhered  to  a  rule  which  for  the  pres- 
ent occasion  he  had  decided  to  make 
quite  hard:  , 

Of  not  mixing  rest  and  recreation 
when  they  are  designed  to  be  the  real 
stuff  just  because  a  camera  might  get 
him  down. 

Allure  of  the  Camera 

"You  know,"  he  declared  by  way  of 
explanation,  "when  I  get  a  camera  into 
my  clutches  there's  only  one  major 
thought  in  my  mind — that's  to  get  the 
best  picture  I  know  how  to  make.  If 
it's  a  beautiful  bit  of  scenery  I  am 
concerned  how  best  I  can  reproduce  it 
— no,  reproduce  is  hardly  the  word.  I 
mean,  perhaps,  how  best  the  pictorial 
qualities  that  inhere  in  photography  may 
enhance  it. 

"I  think  every  man  who  has  had  ex- 


perience with  a  camera  sometimes  has  a 
feeling  that  a  scene  the  possibilities  of 
which  he  may  be  studying  perhaps  may 
not  be  just  another  one  of  those  things 
it  appears  to  be  to  the  eye.  When 
transformed  to  a  print  it  may  be  some- 
thing else  again. 

"So  you  may  understand  me  when  I 
say  that  through  fear  of  the  entangle- 
ments that  lie  in  the  breast  of  every 
lover  of  the  camera  I  have  not  pressed 
a  button  since  leaving  Chicago.  Mrs. 
DeVry  and  I  came  away  on  a  vacation. 
If  I  had  been  making  pictures  I  would 
not  have  seen  the  things  I  most  wanted 
to  see.  Perhaps  I've  got  what  you  call  a 
single  track  mind  when  I'm  sighting  a 
camera;  my  mind  seems  closed  to  other 
things.  Maybe  some  time  I'll  make  a  re- 
turn trip  with  cameras  over  the  ground 
we  have  just  covered." 

The  manufacturer  smiled.  "And  per- 
haps you  may  guess  I  pretty  well  know 
right  now  just  the  spots  I  want  to  put 
on  film  when  that  trip  comes  along,"  he 
added. 

"You  say  you  are  on  a  vacation," 
suggested  the  editor.  "Of  course,  when 
you  stopped  off  at  St.  Louis,  Austin, 
Dallas  and  Laredo  meeting  old  friends 
and  business  associates  you  just  talked 
about  the  weather?" 


Enjoyable  Reading,  but.. 
Other  Values,  Too 

I  would  like  to  add  that  I  have, 
found  your  magazine  enjoyable 
reading  .  .  .  besides  all  the  inter- 
esting, technical  and  educational 
value  which  it  possesses. 

Gerald  C.  Shermeyer. 

York,  Perm. 


The  smile  returned.  "Why,  you  know- 
how  it  is,"  came  the  response.  "When 
long-time  friends  get  together  you  can't 
hang  'em  if  they  get  to  talking  shop!" 

Asked  as  to  his  mileage  on  his  long 
trip  the  manufacturer  negatively  nod- 
ded his  head.  "Really,  I  can't  tell  you," 
he  said.  "I  just  kept  no  books.  I  wanted 
to  be  carefree  and  I  was.  You  see,  it's 
the  silver  anniversary  of  the  DeVry  com- 
pany and  Mrs.  DeVry  and  I  have  been 
celebrating. 

"Yes,  twenty  -  five  years  is  a  long 
time.  And  in  that  time  we  have  estab- 
lished accounts  in  sixty-eight  foreign 
countries.  One  of  these  is  the  interior 
of  Ethiopia,  so  far  into  the  interior  that 
six  weeks'  time  is  required  to  get  a  let- 
ter to  Chicago. 

"Then  another  order  went  to  Re- 
union Island,  a  French  whaling  colony 
in  the  Indian  ocean  400  miles  east  of 
Madagascar,  where  there  is  a  popula- 
tion of  less  than  200.  Rut  that's  just  an 
illustration  of  the  way  Uncle  Sam's 
motion  picture  equipment  spreads  around 
the  world." 

35mm.  and  16mm. 

Asked  about  the  seemingly  changing 
status  of  16mm.  equipment,  if  it  were 
the  experience  of  the  visitor  that  the 
16mm.  equipment  more  and  more  was 
being  taken  over  by  the  advanced  ama- 
teur and  the  professional  and  that  the 
8mm.  constantly  was  growing  in  the  at- 
tention of  the  beginner  as  well  as  count- 
ing among  its  partisans  some  of  the  ad- 
vanced amateurs  again  there  was  a  neg- 
ative shake  of  the  head. 

"Of  course,  it  may  be  understood  I 
am  not  prejudiced,  as  yet,  in  favor  of 
the  8mm.  I  am  against  the  8mm.  now 
for  the  reasons  I  was  against  the  16mm. 
in  other  days,  because  at  that  time  the 
16mm.  could   not   do   the   things  that 


April,  1938    •    American  Cinematographer  143 


Herman  A.  DcVry 


could  be  done  with  35inm.  But  that  re- 
lation has  been  changed." 

The  Chicago  man  admitted  that  for 
a  long  time  he  had  been  a  standpatter 
for  the  35mm.  film  as  against  claims 
for  the  16mm.,  but  he  insists  he  is  no 
longer.  He  conceded,  too,  that  most  of 
his  industrial  accounts  have  changed 
their  medium  from  35mm.  to  16mm. 

In  a  number  of  theaters  around  Chi- 
cago, he  suggested,  where  16mm.  some- 
times is  interjected  in  a  program  nor- 
mally 35mm.,  the  change  is  not  recog- 
nized by  the  persons  in  the  audience.  In 
brilliance  and  definition  the  smaller  film 
practii;ally  matches  those  of  the  larger. 

Again  there  were  small  theaters  where 
the  use  of  16mm.  made  possible  the  op- 
eration of  the  houses  without  loss.  It 
was  in  conditions  such  as  this,  Mr.  De 
Vry  suggested,  that  the  16mm.  particu- 
larly fits,  and  where  for  reasons  of 
economy  there  otherwise  would  be  no 
film  shown. 

Bigger  Things  Coming 

"Of  course,  there  are  a  lot  of  things 
to  be  considered  and  which  have  got  to 
be  smoothed  out,"  Mr.  DeVry  continued. 
"You  have  got  to  have  good  film.  That 
is  imperative.  As  one  of  the  last  manu- 
facturers to  step  off  the  exclusive  35mm. 
pedestal  I  am  free  to  admit  16mm.  is 
going  to  be  a  contender  for  bigger 
things." 

Herman  A.  DeVry,  Inc.,  from  a  one- 
man  start  now  employs  about  300  per- 
sons. The  company  recently  has  com- 
pleted Factory  No.  2,  with  an  area  of 
22,500  square  feet.  Added  to  the  area  of 
No.  1  factory  it  gives  a  combined  floor 
space  of  47,500  square  feet.  The  business 
was  started  in  1913. 

Behind  that  beginning,  though,  were 
twenty  years'  of  work  and  planning,  of 
building  from  the  bottom  upward.  It  was 
at  the  time  of  the  World's  Fair  in  Chi- 
cago in  1893  that  Herman  A.  DeVry 
first  was  attracted  to  motion  pictures. 
He  came  naturally  by  his  liking  for 
show  business,  admitting  with  a  char- 
acteristic chuckle  one  of  his  grandfathers 
was  a  magician. 

Is  Skipper,  Too 

Following  his  work  at  the  World's 
Fair  he  became  interested  in  road  shows 
with  motion  pictures  and  in  theaters. 
One  of  the  subjects  was  that  filmed  of 
the  McKinley  funeral,  a  print  of  which 
he  secured  as  soon  as  it  was  made.  He 
became  a  cameraman  in  1910,  creating 
one  of  the  first  travel-lecture  films, 
"Around  the  World  in  Ninety  Min- 
utes." 

One  of  his  first  cameras  was  a  Lu- 
miere,  which  was  secured  for  him  in 
France  by  a  Kansas  City  fiiend.  He  ran 
pictures  at  the  Omaha  Exposition  in 
1898.  Before  starting  in  business  for 
himself  he  was  for  a  period  with  the 
Watterson  Rothacker  Laboratory  in 
Chicago. 

Mr.  DeVry's  hobby,  his  chief  one, 
rather,  is  yachting.  His  82-foot  yacht 
Typee  is  moored  during  the  summer 
months  in  Belmont  Harbor,  Chicago. 
There  every  noon  he  entertains  his 
friends  and  clients  from   all   over  the 


world.  The  name  of  the  boat,  which  par- 
allels that  of  his  projector  Type  E,  was 
already  a  part  of  the  craft  when  he  pur- 
chased it,  but  of  course  that  fact  in  no 
way  militated  against  the  efforts  of 
the  previous  owner  to  induce  him  to  buy 
it.  He  continued  the  name. 

Indicating  the  motion  picture  equip- 
ment man's  skill  in  navigation  as  well  as 
in  other  things  Mr.  DeVry  brought  the 
craft  from  Stamford,  Conn.,  through 
Long  Island  Sound,  up  the  Hudson 
River,  through  the  Erie  Canal  and  the 
Great  Lakes  to  Chicago. 

On  the  craft  during  the  recent  World's 
Fair  as  many  as  200  persons  were  enter- 
tained on  board  in  a  week.  And  during 
that  same  fair  the  owner  won  prizes 
for  his  skill  in  skippering  the  "Typee." 
But  he  has  been  an  owner  of  deep  sea 
craft  for  fourteen  years. 


It  was  a  matter  of  regret  in  the  A.S.C. 
offices  the  Chicago  manufacturer's  en- 
gagements would  not  permit  him  to  re- 
main in  town  to  be  a  fellow-guest  of 
Norman  Alley  at  the  society's  getto- 
gether  March  28. 

It  is  a  remarkable  history  that  lies 
behind  this  man  from  Chicago.  If  in  the 
industry  anywhere  there  is  another  who 
has  been  a  part  of  it  for  forty-five  years 
and  who  during  that  time  progressively 
has  advanced  without  retrogression  at 
any  point,  and  who  gives  every  promise 
of  advancing  for  many  more  years  to 
come,  this  writer  knows  him  not. 

It  has  been  a  life  of  achievement.  And 
not  the  least  of  Herman  A.  DeVry's 
contributions  to  human  progress  has 
been  his  work  in  advancing  visual  edu- 
cation. But  that  is  not  a  part  of  the 
present  story. 


144      American  CiNEMATOORAfHER    •    April,  1938 


TRIPLE-PROVED 


PHOTOGRAPHIC  quality  .  .  .  fine  grain  . 
speed  . . .  Eastman  Super  X  has  been  proved 
more  than  adequate  on  aJJ  three  counts.  It 
is  the  unusually  happy  combination  of  these 
qualities  in  one  film  that  has  made  Super  X 
the  most  outstanding  negative  material 
in  the  entire  motion  picture  field.  Eastman 
Kodak  Company,  Rochester,  N.  Y.  (J.  E. 
Brulatour,  Inc.,  Distributors,  Fort  Lee, 
Chicago,  Hollywood.) 


EASTMA]\  SI  PER  A 

l»  A  X  i  II  K  O  >l  AT  I  i:    X  K  NATIVE 


Apiil,  1938    •    American  Cinematographer  145 


IT  IS  NOT  the  design  of  this  column 
to  criticize  the  photographic  efforts 
of  our  membership,  but  I  feel  that  in 
the  following  review  there  is  no  criti- 
cism but  a  change  in  trend. 

Warner  Brothers'  technicolor  offering 
of  "Gold  Is  Where  You  Find  It"  hits  the 
screen  with  a  shock  that  will  be  remem- 
bered as  a  source  of  photographic  ref- 
erence for  some  time  to  come — the  same 
sort  of  shock  we  received  when  we  lis- 
tened to  the  first  sound  picture  and  ex- 
claimed, "Well,  this  is  just  about  all 
right"  and  "Now  I  AM  convinced  that 
sound  pictures  are  here  to  stay"  and 
"Silent  pictures  are  beginning  to  seem 
sort  of  flat." 

True,  there  were  pictui'es  that  just 
featured  sound,  but  there  is  always  one 
picture  that  seems  to  click  the  padlock 
on  your  acceptance  of  the  idea  that 
sound  pictures  are  here  to  stay. 

I  could  mention  the  ONE  sound  pic- 
ture that  caused  that  effect,  but  we  are 
discussing  a  color  picture,  one  that  con- 
vinces you  that  color  is  here  to  stay. 
Warner  Brothers  wins  the  cigar! 

Sol  Polito  photographed  "Gold  Is 
Where  You  Find  It,'  and  Allen  Davey 
represented  the  Technicolor  Corporation. 
Through  the  cooperation  of  these  two 
photographers,  we  have  a  picture  that 
gives  you  all  the  natural  beauty  of 
the  scene  WITHOUT  making  you  color 
conscious. 

High  Value  All  Around 
Now  you  realize  why  this  picture  has 
high  photographic,  production  and  audi- 
ence value;  why  people  in  the  theatre 
remarked,  "Isn't  that  beautiful?"  instead 
of,  "Isn't  that  color  beautiful?"  and 
"They  should  have  done  this  a  long- 
time ago!" 

"Gold  Is  Where  You  Find  It"  runs  the 
gamut  of  lighting  ideas  with  the  free- 
dom of  the  black  and  white  picture. 
Closeups  of  the  featured  players  are 
not  lighted  with  a  formula.  The  players 
pass  in  and  out  of  many  lighting  ideas 
without  any  disturbance  whatever. 

Night  scenes  are  convincing  (one  in 
particular  was  breathtaking).  Late 
afternoon  scenes  are  true.  Early  morn- 
ing efi'ects  do  not  need  a  line  of  dialogue 
to  put  them  over  to  an  audience.  When  a 
scene  called  for  the  drab  effect,  it  was 
drab  in  all  its  reality.  When  the  script 
demanded  sparkle  and  brightness,  the 
scene  was  just  that,  and  the  production 
CUT  from  one  scene  to  another  and 
from  one  mood  to  another  without  a  jar 
which  is  generally  caused  by  bad  light- 
ing. 

Mr.  Polito  and  Mr.  Davey  deserve 
much  praise  for  their  efforts  and  their 
accomplishment. 

▼ 

Sol  Halperin  has  left  the  hospital 
and  is  making  rapid  strides  toward  re- 
covery and  the  process  screens  at  Twen- 
tieth. 

▼ 

Over  at  Metro  we  have  Joe  Rutten- 
BERG  on  "Three  Comrades"  .  .  .  Lester 
White  doing  "Yellow  Jack"  .  .  .  Oliver 


WHAT 
ABOUT 
ME.? 

By 

BEE  GEE 


Marsh  starting  "The  Toy  Wife,"  and 
John  Seitz  doing  "Lord  Jeff"  ...  At 
Monogram  Jack  Greenhalgh  on  "Hid- 
ing Gent"  ...  At  Paramount  Ted  Tetz- 
LAFF  about  to  finish  "Tropic  Holiday" 
.  .  .  Leo  Tover  still  on  "Cocoanut  Grove" 
.  .  .  Harry  Fischbeck  in  the  middle  of 
"The  Texans,"  while  Charles  Lang 
warms  up  the  crew  for  "Spawn  of  the 
North"  ...  At  R-K-0  Nicholas  Musu- 
RACA  starts  "Blind  Alibi."  By  the  way, 
Nick  is  getting  quite  a  break  in  na- 
tional magazines  ...  I  warned  you  fellows 
about  sending  in  pictures  of  yourself  in 
action  .  .  .  Out  at  Twentieth  Robert 
Plank  is  winding  up  "Kentucky  Moon- 
shine" .  .  .  Peverell  Marley  about  to 
finish  "Alexander's  Ragtime  Band"  .  .  . 
Arthur  Miller  with  "Little  Miss  Broad- 
way" .  .  .  Edward  Snyder  on  "Racing- 
Blood"  .  .  .  Virgil  Miller  starting 
"Mysterious  Mr.  Moto"  and  Harry 
Davis  starting  "Handle  With  Care"  .  .  . 
At  United  Artists,  Rudolph  Mate  is  do- 
ing "The  Adventuress"  .  .  .  Out  at 
Universal  there  is  George  Robinson  on 
"Sinners  in  Paradise"  .  .  .  Jerry  Ash 
on  "Flaming  Frontiers"  and  Joe  Valen- 
tine starting  "The  Rage  of  Paris"  .  .  . 
At  Warner's  Ernest  Haller  finishes 
"Four  Is  a  Crowd"  and  starts  "The 
Comet"  .  .  .  Tony  Gaudio  in  the  middle 
of  "The  Amazing  Dr.  Clitterhouse"  and 
Arthur  Edeson  on  "Boy  Meets  Girl" 
and  "The  Chump." 

▼ 

William  Koenig,  chairman  of  the  Re- 
search Council  of  the  Academy,  ap- 
pointed a  committee  to  consider  prob- 
lems in  the  process  photographic  field. 
Farciot  Edouart  acts  as  chairman. 
T 

Bouquets  and  (no)  Brickbats  from  the 
Press ! 

Sally,  Irene  and  Mary,  Twentieth — 
"Sparklingly  photographed  by  Peverell 
Marley"  and  "Marley's  photography  is 
standard." 

Flash  Gorden's  Trip  to  Mars,  U— 
"Photography  by  Jerry  Ash  is  tops."  ' 

Jezebel,  Warner's — "Ernest  Haller's 


camera  gives  excellent  value  to  the  con- 
trasted moods"  and  "Ernest  Haller 
wields  an  eloquent  camera." 

The  Crime  of  Dr.  Hallet,  U— "Photog- 
raphy by  Milton  Krasner  is  of  high 
order"  and  "Milton  Krasner's  camera 
is  exceptional." 

Night  Spot,  R-K-0— "Nicholas  Mu- 
SURACA  handles  his  camera  efficiently" 
and  "Joan  Woodbury  suffers  from  lack 
of  photographic  quality." 

The  First  Hundred  Years,  M-G-M— 
"Piece  is  well  photographed  by  Joseph 
Ruttenberg." 

Bulldog  Drummond's  Peril,  Par.  — 
"Harry  Fischbeck  is  first  class  as  al- 
ways" and  "Photography  by  Harry 
Fischbeck  is  well  executed." 

Condemned  Women,  R-K-0 — "Superior 
photography  is  delivered  by  Nicholas 
Musucara." 

Maid's  Night  Out,  R-K-0— "Frank 
Redman  and  Vernon  L.  Walker  have 
used  their  lights  and  lenses  to  the  fullest 
advantage." 

Marriage  Business,  R-K-0 — "Joseph 
H.  August's  photography  in  keeping 
with  the  other  generally  efficient  and 
artistic  contributions." 

Island  in  the  Sky,  Twentieth — "Ed- 
ward Cronjager's  photography,  espe- 
cially of  Miss  Stuart,  adds  to  an  eye- 
pleasing  production"  and  "Edward 
Cronjager  photographed  well." 

Mr.  Moto's  Gamble,  Twentieth— "Lu- 
ciEN  Andriot's  photography  is  tops" 
and  "LuciEN  Andriot's  photography  is 
up  to  its  usual  high  standard." 

The  Girl  of  the  Golden  West,  M-G-M— 
"Special  credit  to  Oliver  T.  Marsh  for 
his  fine  camera  prowess." 

Rawhide,  Twentieth  —  "Allen  Q. 
Thompson's  photography  is  his  usual 
topnotch  job." 

Fools  for  Scandal,  Warner's — "Highly 
competent  photography  of  Ted  Tetz- 
laff"  and  "Photography  by  Ted  Tetz- 
LAFF  is  excellent." 

Bluebeard's  Eighth  Wife,  Par.  —  "A 
grand  job  of  photography  by  Leo  Tover" 
and  "Leo  Tover's  camera  is  eloquently 
handled." 

Joy  of  Living,  R-K-0 — "Photography 
by  Joe  Walker  is  high  class"  and 
"Excellent  photography  by  Joseph 
Walker." 

Her  Jungle  Lover,  Par. — "Ray  Ren- 
nahan's  photography  is  excellent"; 
"The  volcanic  sequence  is  executed  by 
Gordon  Jennings"  and  "Sharing  honors 
are  Ray  Rennahan  and  Dev  Jennings 
manning  the  color  camei'a." 

Judge  Hardy's  Children,  M-G-M  — 
"Lester  White's  photography  added  to 
the  merits  of  the  production." 

The  Rose  of  Rio  Grande,  M-G-M— 
"Gilbert  Warrenton's  photography 
adds  worth  to  the  colorful  sets"  and 
"Gilbert  Warrenton's  photography  is 
outstanding." 

Battle  of  Broadway,  Twentieth—  "Bar- 
ney McGill's  photography  is  good"  and 
"Handsomely  photographed  by  Barney 

McGlLL." 

(Continued  on  Page  152) 


146     American  Cinematographer    •    April,  1938 


Low  Key  Lighting  May  Be  as  Easy 
in  Color  as  It  Is  in  Monochrome 


By  W.  HOWARD  GREENE,  A.S.C. 


10W-KEY  lighting  has  always  been 
a  favorite  means  of  increasing-  the 
pictorial  and  dramatic  effective- 
ness of  motion  picture  scenes.  And  now 
that  so  many  important  productions  are 
being  photographed  in  natural  color, 
cinematographers  are  learning  that  low- 
key  lightings  can  be  even  more  effective 
in  color  than  they  are  in  black-and- 
white. 

What  is  more  to  the  point,  we  are  all 
of  us  learning  that  low-key  lighting  in 
color  is  every  bit  as  easy  and  as  prac- 
tical as  in  monochrome.  I  think  the 
somewhat  common  misconception  that 
such  is  not  the  case  can  be  traced  to 
the  limitations  under  which  the  Techni- 
color process  operated  when  the  three- 
color  process  was  first  introduced. 

At  that  time  limitations  in  both  print- 
ing and  laboratory  processing  definitely 
restricted  the  range  of  visual  bright- 


nesses which  a  cinematographer  could 
attempt  to  record  on  his  negatives. 

Moreover,  the  lighting  equipment  then 
available  was  by  no  means  satisfactorily 
efficient.  Much  of  the  spotlighting  equip- 
ment then  used  dated  back  to  the  pre- 
talkie  days  of  orthochromatic  film  and 
"hard"  light,  and  a  further  serious  short- 
coming lay  in  the  lack  of  adequate 
medium  and  low  powered  spotlighting 
units. 

EfTects  Range  Limited 

The  only  possible  course  was  to  lay  a 
good  foundation  of  general  lighting — 
for  which  Mole-Richardson  had  already 
developed  Side  Arcs  and  Scoops — and  to 
build  up  key  and  modeling  lighting  as 
best  one  could  with  the  obsolescent  sun 
arcs  and  rotaries  which  were  all  we  had 
to  use  for  such  service. 

Under  such  circumstances  it  was  often 


necessary  to  use  more  light  and  more 
lamps  than  were  truly  desirable.  This 
inevitably  limited  the  range  of  effects 
which  could  safely  be  attempted. 

I  do  not  think  it  has  been  adequately 
brought  out  that  Technicolor  cinema- 
tography at  that  time  stood  at  about 
the  same  relative  stage  of  development 
as  did  sound  back  in  1928,  when  only 
a  scant  handful  of  talking  pictures  had 
been  made. 

Progress  in  sound  came  only  as  ex- 
perience brought  forth  improved  equip- 
ment and  techniques.  During  the  last 
year  progress  in  color  cinematography 
has  been  advanced  in  the  same  way. 

From  the  cinematographer's  viewpoint 
one  of  the  most  notable  advances  has 
been  in  the  development  of  a  line  of 
truly  modern  lighting  units.  As  soon  as 
the  first  pressing  need  for  modern  gen- 
eral lighting  units  had  been  met  with 
the  side  arcs  and  scoops,  Mole-Richard- 
son engineers,  in  cooperation  with  the 
Technicolor  staff,  turned  to  the  develop- 
ment of  a  full  range  of  modern  arc 
spotlighting  units. 

The  spotlights  now  used  on  Techni- 
color sets  are  markedly  in  advance  of 
the  types  most  frequently  used  on  black- 
and-white  productions. 

Ranging  from  a  handy  little  6.5-ampere 
spotlight  up  through  the  90-ampere 
H.  I.  arc  and  the  150-ampere  Ultra  H.  I. 
arc,  all  our  modern  units  are  based  on 
the  same  Fresnel-lensed  optical  system 
used  in  the  familiar  incandescent  Solar- 
spots. 

One  Displaces  Two 

Their  beams  are  smooth,  precisely  con- 
trollable, and  flexible.  They  burn  stead- 
ily and  quietly.  It  is  a  fact  that  where 
at  the  time  we  made  "Becky  Sharp"  and 
"Trail  of  the  Lonesome  Pine"  we  would 
use  two  lamps,  today  we  need  use  but 
one.  This  in  itself  broadens  the  range 
of  lighting  effects  a  cinematographer 
can  use. 

An  equal  improvement  has  been  made 
in  the  laboratory  treatment  of  Techni- 
color film,  and  especially  in  the  print- 
ing methods.  These  advances  have  been 
made  in  an  infinite  number  of  details — 
too  many  to  be  discussed  here — and  the 
cumulative  effect  is  that  the  laboratory 
is  able  to  use  lighter,  more  normal  nega- 

(Continued  on  Page  151) 


W.  Howard  Greene,  A.S.C.  (standing  be- 
hind camera),  with  Sol  Polito,  AS.C. 
(kneeling  in  front  of  camera),  filming  a 
scene  for  Wai-ner  Brothers'  Technicolor 
production  "Robin  Hood."  Still  by  Mac 
Julian 


April,  1938    •    American  Cinematographer  147 


Farnham  and  Associates  Honored 
by  General  Electric  Subsidiary 


RALPH  E.  Farnham,  well  known  to 
the  technicians  of  Hollywood  as  a 
representative  of  the  General  Elec- 
tric Company,  together  with  two  of  his 
fellow-workers,  Robert  E.  Worstell  and 
Frank  E.  Carlson,  have  been  honored  by 
the  Charles  A.  Coffin  Foundation,  estab- 
lished by  General  Electric,  with  a  recom- 
mendation for  an  award. 

The  three  men  named  are  affiliated 
with  the  company's  Nela  Park  engineer- 
ing department  of  the  incandescent  lamp 
division.  They  are  commercial  engineers 
on  lighting  for  photography  and  pro- 
jection. In  the  official  announcement  of 
the  Coffin  Foundation  it  is  declared: 

"Through  marked  originality  and  high 
technical  competence  in  the  development 
of  scientific  and  engineering  apparatus 
Messrs.  Farnham,  Worstell  and  Carlson 
have  made  a  contribution  beyond  that 
normally  expected  from  those  engaged  in 
commercial  engineering  service  to  cus- 
tomers and  in  the  promotion  of  wider 
application  of  lamps. 

"Notable  products  of  their  close  col- 
laboration include  the  microphotometer; 
a  novel  and  greatly  superior  type  of 
optical  bench;  the  flashometer,  the  syn- 
chrograph  and  the  flashograph. 

"The  really  unique  laboratory  they 
have  created  has  enabled  them  to  deal 
much  more  fundamentally  and  fully  with 
determination  of  service  requirements, 
specification  of  needed  sources,  develop- 
ment of  related  optical  equipment,  and 
the  checking  of  lamp  performance. 

"They  have  accomplished  marked  sav- 
ings in  cost  and  time.  The  technical 
staffs  of  leading  consumers  come  to 
Nela  Park  to  use  these  superior  facili- 
ties,  thus   adding   to   General  Electric 


prestige.  The  company  has  acquired  a 
commanding  lead  in  bringing  out  im- 
proved lamps  for  the  several  services,  it 
has  been  enabled  to  standardize  a  smaller 
number  of  lamps  and  thus  to  derive 
greater  profit,  and  consistently  to  en- 
joy more  than  a  normal  share  of  busi- 
ness  from   these  markets." 

The  conclusion  of  the  recommendation 
also  sets  forth: 

"It  is  seen  that  these  developments 
have  provided  facilities  of  great  value 
at  small  cost.  Further,  that  they  are 
characterized  by  efficiency  and  economy 
in  operation.  More  important,  they  have 
multiplied  the  effectiveness  of  commer- 
cial engineering  activity  in  a  rapidly 
growing  field.  They  have  made  it  pos- 
sible to  obtain  more  complete  knowl- 
edge and  have  contributed  broadly  to 
product  development,  manufacture  and 
sales." 

Microphotometer 

The  microphotometer  is  described  by 
the  foundation  as  the  first  high-pre- 
cision apparatus  for  measurement  of  very 
low  values  of  candle  power — less  than 
1/1  millionth.  It  embodies  automatic 
recording  of  measurements  and  quickly 
scans  beams  in  steps  of  less  than  1/1000 
by  1/1000  inch. 

Particularly  is  it  valuable  in  develop- 
ment of  lamps  and  optical  systems  for 
the  uniform  brightness  essential  to  high 
fidelity  sound  recording  and  reproduc- 
tion; also  for  picture  transmission  and 
reception.  It  has  resulted  in  substantial 
improvements  in  the  desigrn  of  General 
Electric  lamps  for  these  services  and 
concentrated  demand  on  a  few  standard 
types.  It  is  more  direct,  technically  more 
adequate,  and  far  lower  in  cost  than  the 


Ralph  E.  Farnham 
Photo  by  A.  Briscaloff 


alternative  of  working  with  complete  re- 
cording and  reproducing  apparatus. 

Sound  engineers  have  spent  weeks  at 
Nela  Park  utilizing  this  equipment  in 
prosecuting  their  own  developments. 

Optical  Bench 

The  superior  optical  bench  is  declared 
to  be  highly  flexible,  reducing  by  two- 
thirds  the  time  required  for  testing  of 
projection  lamps  and  optical  systems  as 
compared  with  conventional  apparatus. 
Elements  of  novelty  include  (1)  Side 
mounting  on  graduated  bars  leaving  un- 
obstructed vertical  space  for  all  ele- 
ments. 

(2)  Accurate,  automatically-aligning 
holders,  adaptable  to  complete  range  of 

(Continued  on  Page  17 It) 


Left — The  microphotometer,  first  high-precision  apparatus  for  measurement  of  very  low  values  of  candle  power — less  than 
1/1  millionth.    Right — Superior  optical  bench,  highly  flexible,  reducing  by  two-thirds  tl 


lamps  and  optical  systems  as  compared  with 


the  time  required  for  testing  of  projection 
conventional  apparatus. 


148     American  Cinematographic^    •    Apiil,  1938 


THEBERnDT-mnURERcoHP 

117  E.si  24lh  Str»«l      •      New  York  City 


'VO  ^^^^^ 


Berndt  •  Maurer,  pioneer  in  the 
development  and  manufacture 
of  commercial  16  mm.  High  Fi- 
delity Sound-on-Film  recording 
cameras  and  equipment,  presents 
a  newly  established  B-M  division 

PRECISIOn 

FILM  LABORATORIES 


equipped  for  every  16  mm.  re- 
quirement with— 

Autpmatic  film  processing 

SensHomefric  control 

Cinex  timing 

Complete  air  conditioning 

Optical  and  contact  printers  for 
16  mm.  to  16  mm.  and  35  mm. 
to  16  mm.  sound  and  picture 

Cutting  and  editing  rooms 

16  mm.  and  35  mm.  projection 
theatres 

which  enables  B-M  to  provide  a 
complete,  unified  and  up-to-the- 
minute  service  for  the  producer 
of  commercial  16  mm.  sound 
films  in  the  advertising,  sales 
and  educational  fields. 

An  illustrated  irocJiure  of  B-M 
equipments  and  ^^%^ces  will 
be  sent  upon  request.  A  16  mm. 
demonstration  sound  filin  is 
available  to  responsible  parties 


Frank  Capra  and  Norman  Alley 
are  A.  S.  C.  Guests  at  Gettogether 


i*  NOTHER  unusually  enjoyable  even- 
A%  ing  marked  the  March  get-together 
3f  the  A.S.C.  on  the  28th  at  the 
home  of  the  society.  Joseph  Walker, 
A.S.C.  was  master  of  ceremonies.  The 
opening  speaker  was  Frank  Capra, 
president  of  the  Academy,  who  was 
given  a  hearty  welcome. 

The  chief  interest  of  the  members  in 
Mr.  Capra,  however,  was  on  account  of 
his  work  in  the  direction  of  some  of  the 
major  subjects  that  have  gone  out  of 
Hollywood  in  recent  years.  Among  these 
need  be  mentioned  here  but  two,  and 
these  from  an  entertainment  standpoint 
placed  at  the  opposite  poles — "It  Hap- 
pened One  Night"  and  "Lost  Horizon." 
But  the  two  just  go  to  demonstrate  the 
versatility  of  the  man. 

At  the  close  of  the  talk  and  when  all 
ijuestions  had  been  asked  and  answered, 
and  all  the  questions  did  not  originate 
in  the  audience — the  director  asked  a 
few  on  his  own  account — the  chat  sim- 
mered down  to  one  major  fact:  Plainly 


the  success  of  Frank  Capra  has  been  due 
to  his  regard  for  preserving  and  defend- 
ing illusion,  keeping  beyond  reach  of  in- 
terfering or  disturbing  devices  the  main 
thread  of  the  story  as  he  conceived  it. 

Norman  Alley,  famous  newsreel  man 
whose  work  in  China  attracted  interna- 
tional attention  when  he  climaxed  his 
stay  in  that  country  by  making  a  pic- 
torial record  of  the  bombing  and  sinking 
of  the  United  States  ship  Panay,  was 
the  second  speaker.  He  brought  with 
him  a  couple  of  rolls  of  film  which  spoke 
for  themselves  and  for  the  genuine  dan- 
gers that  accompanied  the  man  who  put 
those  scenes  on  the  film. 

The  films  elo()uently  told  several  sto- 
ries, too,  more  than  the  unspeakably  in- 
human bombing  of  non-combatants,  of 
women  and  children;  none  of  them  was 
more  evident  than  that  the  speaker  had 
maintained  in  his  fidelity  to  his  work  all 
the  best  traditions  of  the  newsreel  cam- 
eraman—he had  faced  the  hazards  and 
he  had  brought  home  the  pictures. 


eflSTCRN  HeAPqUARTCRS  J  FOR  TH€  CAMeRAMCN 


CAMERA 

REPAIR  WORK  BY 
EXPERT  TECHNICIANS 


RENTALS  SS 

LIGHTS 
LENSES 

'ACCESSORIES 

I  FRANK  ZUCKE«>  ■  


BLIMPS  •  DOLLIES 


oTamera  Equipment- 

\^  1600  BROADWAY  AT  48'-"St.  Sisi"  fiNEQ°S° 


FAXON  DEAN 

INC. 

CAMERAS 

BLIMPS-DOLLYS 

FOR  REXT 

MO.  iiasa 

4516  Sunset  Boulevard     Night,  No.  Hollywood  1271 


April,  1938    •    American  Cinematographer  149 


Reeves  Resumes  Active  Control 

of  Holly  wood  Camera  Supply 


the  international  touch  that  always  has 
marked  my  manufacturing  of  developing 
machines  and  sound  and  laboratory 
equipment  and  accessories." 


y*  RT  REEVES  has  resumed  active  in- 
/A  terest  in  the  Camei'a  Supply  Com- 
JL  a.  pany  of  1515  Cahuenga  avenue, 
Hollywood,  dealing  in  rentals  and  new 
and  used  motion  and  still  picture  pro- 
fessional and  amateur  equipment.  The 
building,  which  is  owned  by  Reeves,  has 
been  thoroughly  renovated  and  decor- 
ated as  well  as  enlarged  by  the  addition 
of  a  finely  lighted  office  in  the  rear.  The 
addition  gives  the  store  an  area  of  3250 
square  feet,  the  largest  space  devoted 
to  any  similar  store  in  Hollywood. 

For  several  years  the  owner  has  given 
his  more  or  less  entire  attention  to  the 
business  known  as  Art  Reeves'  Motion 
Picture  Equipment,  now  in  new  and  en- 
larged quarters  at  7512  Santa  Monica 
bculevard,  where  it  is  doing  a  fast  grow- 
ing international  business. 

Gordon  Bennett,  the  new  manager  of 
the  store,  has  had  a  wide  photographic 
background  on  the  Pacific  Coast  during 
the  last  twenty  years.  Having  been  a 
newsreel  cameraman  he  knows  many  of 
the  difficulties  that  all  photographers 
encounter.  Also  Bennett  has  had  many 
years'  experience  in  catering  to  the 
photographic  trade. 

One  of  the  first  steps  he  has  under- 
taken is  the  listing  in  plam  and  under- 
standable figures  all  the  items  in  the 
wide  stock  carried  by  the  house. 

The  store  is  equipped  with  two  dark- 
rooms, one  on  the  main  floor  chiefly  for 
demonstration  purposes,  although  en- 
tirely practical.  In  this  room  an  inquir- 
ing customer  may  see  for  himself  a  stock 
of  material  which  will  be  required  to 
equip  such  a  place  in  his  home  or  on 


COOKE 
LENSES 

FINEST  CORRECTION 
FINEST  DEFINITION 
FINEST  NEGATIVES 

BELL  &  HOWELL  COMPANY 

Exclusive  World  Distrihiifors  of 
Taylor-Hobson  Cooke  Cine  Lemes 
1848  UXRCHMONT  AVENUE  CHICAGO 

New  York;  11  West  42,1  St.    Hollywuud:  716  N.  La  Bri-a  Ave. 
London:  13-14  Great  Castle  St. 


his  grounds  and  with  a  comprehensible 
idea  of  the  amount  of  space  and  cost 
required  to  install  such  a  plant. 

Also  there  is  another  practical  dark- 
room in  the  large  basement,  which  will 
be  for  the  general  convenience  of  cus- 
tomers who  have  a  brief  job  of  loading 
or  similar  work  to  do. 

Camera  Supply  will  carry  the  Univex 
line  of  equipment.  "I  intend  to  do  my 
part,"  declared  Reeves  in  explanation, 
"to  keep  the  photographic  business  in 
photographic  stores.  Yes,  and  I  shall 
continue  to  maintain  with  this  business 


NEW  VARIRAY  RECORD- 
ING GALVANOMETER 

•  Variable  Area. 

•  Noise  Reduction  Shutter. 

•  Noise  Reduction  and   Lamp  Control 
Panel. 

•  High  Quality  Optical  System. 
Complete,  ready  to  install  $750  net 

Blue  Seal  Sound  Devices,  Inc. 

723  Seventh  Avenue,  New  York  City 
Cable  Address:  Soundfilm 


>"SALES^ 
RENTALS 
SERVICE 

DOLLIES 
BLIMPS 


FEARLESS  X 
PRODUCTS  \ 

HARRISON 
FILTERS 

ar'ro 

V  LIGHTS 


MOTION  Picture  Camera  Supplyin< 

723  SEVENTH  AVENUE.  NEW  YORK.N.Y 
BRYANT  9-7755  •  CABLE :  CINECAMERA' 


Eliminate 
Spill  Light 
Use 

KEG^LITE 

(2000  watt  spot) 


Equipped  with 

LEAK^PROOF  LENS 
Bardwell  &  McAlister,  Inc. 

MOTION  PICTURE  ELECTRICAL  EQUIPMENT 
7636  Santa  Monica  Blvd. 
Hollywood,  California  Tel.  HOllywood  6235 


150     American  Cinematographer    •    Api-il,  1938 


Agfa  Issues  Its  35mm.  Supreme  in 
Spools^  Press  in  Rolls  and  Packs 


IMPORTANT  news  to  all  users  of 
35mm.  miniature  cameras  is  the  an- 
nouncement that  Ag-fa  Supreme,  the 
fast  panchromatic  film  recently  intro- 
duced, has  been  made  available  in  cart- 
ridges, spools  and  darkroom  loading 
packages.  Although  a  new  product,  ex- 
ceptional recognition  has  already  been 
given  to  this  film,  for  Supreme,  together 
with  Agfa's  new  Ultra-Speed  Pan,  is 
the  first  film  in  seven  years  to  win  the 
motion  picture  industry's  highest  honor, 
the  Class  I  award  for  technical  achieve- 
ment of  the  Academy  of  Motion  Picture 
Arts  and  Sciences. 

As  supplied  for  35mm.  still  cameras 


in  spools,  new  type  reloadable  cartridges 
and  in  darkroom  loading  bulk  lengths, 
the  new  film  will  be  known  as  Agfa 
Superpan  Supreme  and  will  replace  the 
Fine  Grain  Superpan  formerly  sup- 
plied. Until  new  cartons  can  be  provided, 
Superpan  cartons  bearing  the  label 
"New  Type"  or  "Supreme"  are  being 
used  and  can  be  identified  as  containing 
the  new  Superpan  Supreme. 

Grain  Has  Not  Suffered 

Many  technical  advantages  are  pro- 
vided in  the  new  Superpan  Supreme. 
Speed  has  been  increased  approximately 
one  hundred  per  cent,  making  the  film 


twice  as  fast  as  the  Superpan  it  re- 
places. 

Agfa's  exceedingly  fa.st  Superpan 
Press  emulsion  has  received  .such  wide 
attention  in  the  short  time  it  has  been 
available  in  cut  film  that  its  maker  has 
introduced  a  similar  film  for  cameras 
using  rolls  or  packs.  Also  named  Agfa 
Superpan  Press,  the  new  film  supplied 
in  roll  and  film  pack  form  is  four  times 
faster  than  any  panchromatic  film  of  the 
supersensitive  type  previously  available. 

Color  sensitivity  of  the  new  film  is  of 
the  balanced  panchromatic  type,  while 
the  contrast  is  of  normal  brilliance.  Sur- 
prising as  it  may  seem,  grain  size  of  the 
new  Superpan  Press  Roll  and  Pack  film 
has  not  suffered  by  the  advance  in  light 
sensitivity,  and  in  fact  is,  if  anything, 
slightly  finer  than  previous  supersensi- 
tive films. 

Agfa  Ansco  advises  that  care  should 
be  taken  in  the  u.se  of  the  film  not  to 
give  too  much  exposure.  Two  lens  .stops 
less  exposure  should  be  used  than  would 
be  given  a  panchromatic  film  of  the 
supersensitive  type.  Handling  and  de- 
veloping of  the  film  should,  of  course, 
be  done  in  total  darkness. 

In  roll  film,  the  new  Superpan  Press 
will  be  available  in  A8  (same  size  as 
127),  B2  (same  size  as  120),  PB20 
(same  size  as  620)  and  PD16  (same  size 
as  616).  Superpan  Press  film  packs  will 
be  supplied  in  6  by  9  cm.,  3^^  by  4% 
inch,  9  by  12  cm.  and  4  by  5  inch  sizes. 

Superpan  Press  cut  film  is  now  being 
supplied  in  several  sizes  including  6.5 
by  9  centimeters,  2%  by  3^/4  inches,  2^/2 
by  3%  inches,  11  by  14  inches  and  12  by 
20  inches.  Standard  sizes  continue  to  be 
available. 


Ampro's  1938  Catalog 

The  Ampro  Corporation,  2839  North 
Western  avenue,  Chicago,  has  produced 
a  colorful  catalog  of  its  entire  line  of 
silent  and  sound  projectors. 

The  new  catalog  is  well  illustrated 
and  presents  a  text  book  arrangement 
of  all  models. 


Fried  Laboratory  Equipment 
35MM        I6MM  COLOR 

Printers:  Color,  Continuous,  Step,  Optical 
Lite   Testing    Machines   Developing  Machines 

FRIED  CAMERA  CO. 

6154  Santa  Monica  Blvd.,  Hollywood,  Cal. 
Cable:  FRIEDCAMCO 


RENTALS   -   SERVICE  \^ 

MOTION    PICTURE    CAMERAS   -   BLIMPS    -   DOLLIES    AND  ALL 

ACCESSORIES 

HIGH-SPEED  CAMERAS    HIGH-SPEED  MOTORS    MOTOR  EYEMOS 

LANDERS  <c  TRISSEL,  Inc. 

PHONE  6313  SUNSET  BOULEVARD  Night 

NEAR  VINE  STREET  Landers  HE  1311 

HE-2277  HOLLYWOOD,  CALIFORNIA  Trissel  -  No.  Hoi,  5992W 


Good  Earth 
Dead  End       Wings  Over  Honolulu 
A  Star  Is  Born 

All  of  the  Academy  selections  for  the 
Best  photography  of  1937  used 
Mole-Richardson  lighting  equipment. 


MOLE-RICHARDSON  CO. 

941  N.  Sycamore  Avenue,  Hollywood,  California 

Mole-Richardson  (England),  Ltd.,  London,  England 
Mole-Richardson  (France),  Ltd.,  Neuilly-Sur-Seine,  France 
Motion  Picture  Lighting  &  Equipment  Co.,  New  York 
Bombay  Radio  Company,  Bombay,  India 
H.  Nassibian,  Cairo,  Egypt. 


MUST  SACRIFICE 

DE  BRIE  SUPER  PARVO 

ISew  Type  Ultra  Silent  Camera — 

l\o  Blimp  Necessary- 
Has  built-in  motor,  automatic  dissolve, 
pilot  pins  and  anti-buckling  device.  Four 

1000-ft.  magazines  40  mm.  50  mm  and 

75  mm  F2.3  lenses — Mitchell  tripod,  De 
Brie  upright  finder,  set  of  front  attach- 
ments. Leather  covered  carrying  trunk 
and  tripod  cover.  It's  the  latest  type 
equipment  .  .  .  like  new! 

Camera  Equipment,  Inc. 

I&OO  Broadway  New  Yoric  City 

Tel.  Circle  i-5080  Cable:  CIriequip. 


April.  1938    •    American  Cinematographer  151 


Low  Key  Lighting 

(Continued  from  Page  H6) 
tives,  and  to  give  better,  more  uniform 
prints. 

It  was  my  good  fortune  to  photograph 
"A  Star  Is  Born"  just  as  these  improved 
methods  were  being  put  into  practice, 
and  to  reap  the  benefits  of  having  my 
release  prints  made  by  the  improved 
methods. 

As  a  result  I  was  able  to  go  farther 
in  the  direction  of  low-key  lightings 
than  had  previously  been  advisable  in 
color  filming.  The  mood  and  action  of 
the  story  also  favored  low-key  treat- 
ment, and  I  had  the  good  fortune  to  be 
working  with  a  director  and  a  producer 
who  appreciated  the  dramatic  value  of 
such  camerawork. 

The  result  was  that  for  many  of  my 
effect  lightings  I  found  myself  approach- 
ing parity  with  the  lighting  levels  and 
balances  the  average  monochrome  cine- 
matographer would  use  for  the  same 
scenes.  Since  then,  not  only  I  but  many 
other  cameramen  who  have  made  Tech- 
nicolor productions  have  been  able  to  ad- 
vance still  nearer  monochrome  standards. 

In  producing  any  type  of  effect  light- 
ing in  modern  Technicolor,  the  pho- 
tographer can  light  his  action  much 
more  flatly  than  he  would  find  neces- 
sary in  black-and-white.  In  color,  of 
course,  one  has  actual  color  contrasts 
to  give  separation,  where  in  monochrome 
such  separation  to  a  great  extent  must 
be  achieved  by  lighting  contrasts.  With 
the  advantage  of  natural  color  contrasts, 
lighting  contrasts  are  not  nearly  so 
necessary. 

Same  as  Black  and  White 

It  must  be  understood  that  this  flatter 
lighting  is  achieved  exactly  as  one  would 
do  it  in  monochrome.  The  days  when 
the  flatter  lighting  of  a  color  scene  re- 
quired a  forest  of  side  arcs  on  the  floor 
and  row  after  row  of  scoops  overhead, 
giving  an  almost  characterless,  shadow- 
less lighting,  are  definitely  and  perma- 
nently gone. 

Instead,  the  flatter — or  to  be  exact,  the 
softer  lighting,  is  achieved  by  economiz- 
ing on  the  number  of  sources  used  and 
by  restraining  the  amount  of  back  and 
rim  lighting  used. 

Furthermore,  we  can  now  use  smaller 
units.  Where  a  few  years  ago  we  would 
have  to  use,  say,  a  90-ampere  H.  I.  arc 
we  can  now  use  a  fiS-ampere  unit.  Where 
in  "Becky  Sharp"  we  would  find  a  big 
36-inch  sun  arc  necessary  we  can  use 
a  150-ampere  Ultra  H.  I.  arc,  or  even 
the  90-ampere  unit.  On  many  occasions 
we  have  made  close  shots  in  which  we 
found  only  a  side  arc  necessary  as  a 
key  light. 

Similarly,  the  amount  of  general  light- 


Complete   Studio  Equipment 

KRUSE 
Camera  Rentals 

HI  4464  HI  8144 

1033  N.  Cahuenga  Nife  MO.  13470 


ing  needed  for  color  scenes  has  reached 
virtual  parity  with  the  best  practice  in 
black-and-white.  The  forest  of  overhead 
Scoops  which  once  characterized  Techni- 
color sets  has  disappeared.  The  only 
time  I  used  these  units  on  "A  Star  Is 
Born"  was  on  a  few  large  sets  and 
for  occasional  filler  service  in  cramped 
quarters. 

In  low-key  monochrome  scenes  it  is 
often  very  effective  to  have  relatively 
strongly  lit  actors  moving  in  front  of 
a  dark  background.  This  effect  is  even 
more  striking  in  color,  for  the  natural 
coloring  of  the  players'  complexions  and 
costumes  furnishes  a  striking  natural 
contrast  with  the  dark  background.  A 
sure  way  to  make  any  color  stand  out 
vividly  is  to  play  it  against  a  dark 
background. 

Advantages  in  Color 

In  making  such  scenes  in  monochrome 
we  would  ordinarily  use  at  least  some 
back  lighting  to  give  a  sharply  defined 
separation  between  figure  and  back- 
ground. In  Technicolor  the  natural  color 
contrast  does  this  for  us. 

Cinematographers  long  have  realized 
that  one  way  to  correct  undesirable  tonal 
contrasts  in  a  set  is  to  keep  the  light 
away  from  the  disturbing  area.  The 
effect  is  even  more  marked  in  color.  The 
extent  to  which  set  coloration  can  be 
controlled  by  lighting  is  a  constant  sur- 
prise to  newcomers  in  color  camera- 
work. 


A  normal  illumination  level  will  give 
a  normal  color  rendition;  as  the  illumi- 
nation is  lessened,  the  color  grows 
darker  and  less  obtrusive,  until,  if  all 
light  is  excluded,  even  a  brilliantly  col- 
ored area  can  appear  virtually  black.  In 
this  connection  the  Fiesnel-lensed  M-R 
spotlighting  units  are  most  helpful,  for 
their  construction  completely  does  away 
with  spilled  light. 

Balancing  shadows  in  Technicolor  is 
no  more  of  a  problem  than  in  black-and- 
white.  Generally  speaking,  one  will  get 
better  results  with  a  slightly  smaller 
range  between  highlight  and  shadow 
illumination  levels  than  would  be  the 
case  in  monochrome,  but  with  this  slight 
modification,  the  balancing  of  illumina- 
tion is  closely  the  same. 

In  fact,  as  one  eminent  monochrome 
cameraman  recently  remarked,  between 
the  more  efficient  lighting  equipment 
used  for  Technicolor  and  the  more  nat- 
ural lightings  possible,  modern  color 
cinematography  is  actually  simpler  than 
black-and-white. 

In  closing,  I  would  like  to  take  this 
opportunity  of  expressing  to  my  fellow- 
members  of  the  A.S.C.  my  appreciation 
for  the  Academy  color  award  which 
their  votes  brought  me,  and  to  the  opera- 
tive crew  —  Arthur  Arling,  operative; 
Nelson  Cordis,  technician,  and  Thad 
Brooks,  assistant — who  worked  so  splen- 
didly with  me  in  making  the  picture 
which  won  the  award. 


Camera  Supply  Co. 

OWNED  AND  OPERATED  BY 

ART  REEVES 

Meet  the  Staff  for  Efficient,  Courteous  Service 
Gordon  Bennett — New  Manager 

Hal  Harms — Photographic 
Roy  Vaughan — 35mm  Equipment 


EVERYTHING  PHOTOGRAPHIC 


PROFESSIONAL  AND  AMATEUR 


NEW  AND  USED  EQUIPMENT 
BOUGHT,  SOLD  AND  RENTED 

Camera  Supply  Co. 

1515  North  Cahuenga  Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address — Cameras 


152     Ameiucan  Cjnematochapiikk 


April, 


What  About 
Me? 


(Continued  from  I'di/c  145) 

Port  of  Seven  Seas,  M-G-M — "Excep- 
tionally good  photography  by  Karl 
Freund"  and  ".  .  .  is  especially  indebted 
to  Karl  Freund  for  exceptional  photog- 
raphy." 

No  Time  to  Marry,  Columbia — .  . 
and    tastefully    photographed    by  Al 

ZlEGLER." 

Penrod's  Double  Trouble,  Warner's — 
".  .  .  and  Arthur  Todd's  photography 
leaves  no  room  for  improvement." 
T 

John  Arnold  has  assigned  Len  Smith 
to  take  a  month's  training  at  the  Techni- 
color plant  in  preparation  for  "North- 
west Passage"  .  .  .  Ernest  Haller  has 
been  assigned  to  photograph  "Comet" 
for  Warner's  .  .  .  Hal  Rosson  draws 
camera  assignment  on  "Shopworn  An- 
gel" at  Metro  .  .  .  John  Alton  hies 
himself  back  to  South  America  to  work 
for  the  National  Films  of  Argentina 
.  .  .  Technicolor  signs  for  six  pictures 
at  M-G-M  .  .  .  Karl  Freund  goes  to 
Universal. 

T 

My  assistant  says: 

That  it's  bad  business  to  forget  the 
star's  name  and  call  her  something  else. 

Now  that  the  Academy  has  given  its 
award  and  the  excitement  is  all  over,  we 
can  all  settle  down  to  the  starting  mark 
for  the  statue  that  is  to  be  given  away 
free  for  the  best  photographed  picture 
of  1938.  It  just  seems  like  there  is  never 
any  peace.  We  are  always  competing  for 
something  whether  it  be  with  the  traffic 
or  the  60  per  cent  margin  of  profit  at 
the  racetrack.  Hi-Ho !  It  certainly  is 
tough ! 


f 

''OflRIABLE  AREA  RECORDERS'' 

i 

35mm  TO  16mm 
rj    REDUCTION  SOUND  PRINTER  €J1 

R          SOUND  EQUIPMENT  R 
^        Cable  address  CRSCO 

C.R.  SKINNER  MFG.  Co. 

B 

f 

^     San  Fnncisco.  Calilornia     U.  S.  A.  j 

MOVIOLA 

FILM  EDITING  EQUIPMENT 

Used  in  Every  Major  Studio 
Illustrated  Literature  on  request 

MOVIOLA  CO. 

1451  Gordon  St.  Hollywood,  Calif. 


Research  Council  Names 

Process  Field  Committee 

THE  research  council  of  the  Acad- 
emy of  Motion  Picture  Arts 
and  Sciences  has  appointed  a 
committee  to  consider  problems  in  the 
process  photography  field  which  have 
arisen  during  the  near  past. 

Recent  improvements  in  technique  of 
background  photography  in  the  studios 
have  necessitated  the  development  of 
new  arc  carbons  and  lamp  and  projection 
equipment.  Some  of  this  equipment, 
notably  a  new  type  process  projector,  has 
already  been  completed  and  will  be  test- 
ed by  the  committee. 

Other  equipment,  principally  a  new 
type  projector  lamp  and  specially  de- 
signed carbons,  is  now  in  process  of 
development,  and  this  committee  will 
coordinate  and  correlate  all  of  the  studio 
requirements  and  assist  manufacturers 
in  developing  satisfactory  equipment. 
Membership  of  the  newly  appointed 


Process  Projection  Equipment  Commit- 
tee consists  of  Farciot  Edouart,  chair- 
man; J.  A.  Ball,  H.  C.  Bishop,  Jack 
Burroughs,  Ganahl  Carson,  Merle  Cham- 
berlain, Jack  Cosgrove,  Arnold  Gillespie, 
Charles  Handley,  Ralph  Hammeras, 
Winton  Hoch,  Stanley  Horsley,  Fred 
Jackman,  Wallace  Kelley,  H.  F.  Koene- 
kamp,  Robert  Layton,  William  Miller, 
Elmer  Richardson,  Roy  Seawright,  W.  B. 
Slaughter,  George  Teague,  William 
Thomas,  Vernon  Walker,  Frank  Young, 
and  the  manager  of  the  council. 


•  •  •  C/  M  ]^  E  'X.  •  •  • 

•  Light  Testers — Polishers  used  by  all 
major  studios.  We  are  the  Sole  Mfrs. 
and  Distributors. 

•  Mfrs.  of  16mm  and  35mm  Recording 
Heads,  Amplifiers,  Developing  Ma- 
chines,   Printers,  Etc. 

CINEMA  ARTS— CRAFTS 

914  N.  Fairfax    HE-1984    Hollywood,  Calif. 


REPRESENTATIVE 

or  Distributing  Sales  Agency 

WANTED 

on  West  Coast 

by  world-famous  manufacturers 
of  precision  photographic  and 
projection  lenses  that  include 
objectives  of  every  type  for 
every  amateur  and  professional 
still  and  cine  requirement. 

Must  be  in  regular,  close  con- 
tact with  photographic  dealers 
and  motion  picture  studios.  Ad- 
dress communications  to  Box 
213,  American  Cinematographer, 
1782  North  Orange  Drive,  Hol- 
lywood, California. 


FILM  TESTED 


Automatic  Developing  Machines 

Soundolas 

Sensitesters 

Reeves-lites 

Variable  Density  Sound  System 
Variable  Area  Sound  System 
Microphone  Boom 
Sound  Accessories 
Laboratory  Accessories 


ART  REEVES 

MOTION   PICTURE  EQUIPMENT 

Cable  Address:  ARTREEVES 
7512  Santa  Monica  Blvd.  Hollywood,  California  U.  S.  A. 


EASTMAN 
SUPER  X 

NEGATIVE 


J.  E.  BRULATOUR,  INC. 


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stands  unrivaled  in  the  l6  mm.  motion  picture  field.  Compact,  light  in 
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film  speeds  (including  slow  motion),  a  turret  head  for  quick  lens  changes, 
and  a  wide  variety  of  optional  accessories,  all  instantly  removable  without 
tools,  such  as  an  electric  motor  drive,  external  magazines  holding  up  to 
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sonal films.  Send  the  coupon  for  complete  details. 


FILMO  121 — 16  mm.  Magazine  Loading.  The  perfect  "casual  cam- 
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16  to  64,  $8  5.  Model  134-G, 
with  F  3.5  lens,  only  $55. 

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BELL  &  HOWELL 


AMERICAN  CINEMATOGRAPHER 
AMATEUR  MOVIES  SECTION 


THE  MOVIES  THAT  BLOOM  IN  THE  SPRING 


PRACTISED  movie-makers 
know  that  spring  offers  great 
opportunities  for  really  worth- 
while outdoor  shots.  And  they've 
learned  that  the  way  to  make  the 
most  of  those  opportunities  is  to 
use  Hypan  .  .  .  the  film  that's  espe- 
cially designed  for  outdoor  use, 

BRILLIANCE. ..SPARKLE... SNAP! 

Hypan  is  unbelievably  brilliant, 
and  it  brings  you  sparkling  screen 
results  with  added  snap  and  luster. 


It  is  fine  grained  and  fully  panchro- 
matic. Hypan's  speed  in  daylight 
is  approximately  that  of  the  famous 
Agfa  Superpan  Reversible. 

For  movies  as  bright  as  spring- 
time itself,  use  Agfa  16  mm.  Hypan 
Reversible  Film.  It  comes  in  100- 
foot  rolls  at  $6.00,  and  in  50-foot 
rolls  at  $3.2  5.  Prices  include  proc- 
essing and  return  postage.  Made 
by  Agfa  Ansco  Corporation  in 
Binghamton,  New  York. 


April,  1938    •    American  Cinematugrapher  157 


AMATEUR  MOVIE 

SECTION 


Contents.... 


SOCIETY 

OF  AMATEUR 

CINEMATOGRAPHERS 


BOARD  OF  REVIEW 

Victor  Milner,  President,  A.S.C.,  Director 
of  Photography  Paramount  Studios,  Acad- 
emy Award  Winner  1935 

'(Carl  Struss,  A.S.C.,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award 
Winner  1928 

Fred  W.  Jackman,  Treasurer  American  So- 
ciety of  Cinematographers 

Dan  Clark,  A.S.C.,  Director  of  Photog- 
raphy Twentieth  Century-Fox 

Tony  Gaudio,  A.S.C.,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 
Award  Winner  1937 


It  ain't  goin'  to  rain  no  more  158 

By  George  Blaisdell 

Color  in  broadcasting  studied  by  Holly- 

wocd   Television   Society  160 

By  William  Laughton  Prager 

Phototours  to  Europe  will  mark  inno- 
vation for  amateur  filmers  161 

Micro    Movies    most    efficient  research 

tool   162 

By  Dr.  Paul  A.  Zahl 

Tales  of  Sea  lead  program  at  Littles' 

Sixth  Evening   164 

European  product  Eumig  C4  8mm.  cam- 
era enters  American  market  166 

Notes  of  the  movie  clubs  167 

Stanley  and  Maryjane  Bean  tell  of  mak- 
ing scenario  films  169 

By  Mr.  and  Mrs.  Bean 

Three  Cinematographer  Awards  on  In- 
tel-national Show  Program  170 

Legibility  and  pictorial  value  lead  de- 
sirable title  qualities  171 

By  William  Stull 

Good  program  at  well  attended  Ninth 
Movie  Party   174 

Helm  invents   portable  cinema  testing- 
set-up  175 

Eastman    makes    enlarger   for  16mm. 
frames   176 


158     American  Cinematographer 


April,  1938 


//  A  in  t  Coin '  To  Rain  No  More 


THE  troubles  of  the  sound  man  are 
without  end.  Over  at  Universal 
studio  those  in  authority  pretty 
well  know  what  to  do  when  a  flock  of 
none  too  high-flying  giant  bombers  goes 
sailing  overhead  or  a  division  of  fire 
apparatus  screams  along  Lankershim 
Boulevard  just  in  front  of  the  lot.  But 
an  operating  pile  driver  right  out  on 
that  same  boulevard  almost  in  front  of 
the  studio  entrance  was  something  else 
again.  That  was  one  that  was  not  in 
the  book. 

On  the  late  afternoon  of  March  19 
this  writer  with  a  camera  made  a  visit 
to  some  of  the  devastated  spots  in  North 
Hollywood,  formerly  Lankershim,  a  per- 
fectly good  name  altered  for  obvious 
reasons  to  the  present  geographical  mis- 
nomer possibly  by  little  "realtors"  who 
aspired  to  become  big  "realtors." 

But  wrongly  or  rightly  named,  the 
town  was  hard  hit  by  flood  waters  that 
streamed  down  from  the  nearby  hills.  A 
couple  of  exposures  made  at  the  site 
of  the  Lankershim  Bvidge  are  repro- 
duced here.  These  will  show  not  only 
one  item  of  the  general  wreck  but  also 
will  indicate  the  amount  of  hammering 
that  took  place  while  that  temporary 
bridge  was  being  built. 

A  few  days  earlier  the  writer  had 
stood  on  the  studio  side  of  the  young 
chasm  while  the  pile  driver  was  in 
operation.  At  every  one  of  the  rapidly 
repeated  blows  the  ground  would  shake 


By  GEORGE  BLAISDELL 

like  a  distinct  tremor  of  a  developing 
earthquake. 

Over  on  the  studio  lot  James  Whale, 
among  others,  as  it  afterward  was  told, 
was  directing  a  picture  for  Universal. 
Whale  decided  to  take  half  a  loaf.  Sta- 
tioning a  man  at  the  front  of  the  studio 
where  the  finish  of  the  driving  of  each 
log  could  be  seen  through  a  series  of 
signalers  word  was  conveyed  to  the 
director. 

Cameras  would  be  started  until  word 
came  that  another  log  was  set  for  driv- 
ing. Then  work  would  cease  until  the 
last  of  the  rapidly  repeated  blows  had 
been  delivered. 

Nevertheless  a  pile  driver  seems  to 
have  been  something  new  in  the  handi- 
caps experienced  by  a  sound  man  in  a 
West  Coast  studio. 

T 

GEORGE  A.  BLAIR,  sales  manager 
of  the  export  motion  picture  film 
department  of  the  Eastman  Kodak 
Company,  with  offices  in  Rochester,  was 
a  visitor  to  the  editor  at  the  end  of 
March.  The  occasion  served  for  the  re- 
newal of  a  friendship  that  has  extend- 
ed across  twenty-six  years. 

George  Blair  is  one  of  the  veterans 
of  the  Eastman  Company.  Since  his 
youth  he  has  been  continuously  on  its 
roster — and  for  many  years  one  of  its 
more  popular  executives.  During  his 
service  with  a  domestic  department  of 
the  company  there  were  no  functions 


In  these  sundown  pictures  will  be  found  a  suggestion  of  the  havoc  wrought  at  the 
door  of  the  Universal  studio  in  North  Hollywood — and  also  of  the  number  of  piles 
necessary  to  sink  into  the  earth  in  order  to  create  a  temporary  bridge  for  heavy 
traffic.  It  was  something  new  in  the  way  of  handicaps  for  sound  picture  makers, 
ivhere  on  signals  that  the  pile  driver  was  about  to  start  its  earth-shaking  blows  all 
work  would  stop  until  the  particular  stick  had  been,  sunk  to  its  destination.  Aside 
from  that  cost  of  time  and  frayed  nerves  the  only  expense  to  Universal  that  shows 
on  the  books  were  ten  or  a  dozen  acres  ivashed  down  the  river  and  several  sets  that 
were  knocked  cock-eyed,  a  damage  at  least  of  $50,000.  That  old  expression  of 
"washed  its  shores"  may  be  employed  here — for  the  Universal  property  for  many 
hundreds  of  yards  was  quite  thoroughly  "ivashed"  by  the  Los  Angeles  River  when 
it  shifted  from  the  non-existent  to  the  flood  stage. 


related  to  the  film  business  in  any  part 
of  the  United  States  at  which  he  was 
not  present  as  a  representative  of  the 
Rochester  concern. 

He  always  was  the  perfect  company 
ambassador — just  as  he  is  today.  He 
brought  favorable  attention  to  the  cor- 
poration he  represented  not  because  he 
discreetly  exploited  it  or  even  mentioned 
it.  Rather  it  was  because  in  mingling 
with  him  his  friends  new  and  old  un- 
consciously bestowed  on  his  company  the 
regard  they  felt  for  him  personally. 

Mr.  Blair  came  into  Los  Angeles  on 
the  wave  of  the  flood,  so  to  speak.  Any- 
way, he  came  in  from  Barstow,  quite  a 
bit  out,  by  bus  instead  of  on  the  cus- 
tomary rails.  But  presence  of  wind  and 
rain  and  absence  of  bridges  leave  this 
Rochester  man  serene  and  unruffled. 

During  the  all  too  brief  visit  of  George 
Blair  in  this  ofl^ice  there  was  talk  of  old 
friends  who  have  signed  off  and  of  mer- 
ry moments  with  them  when  they  were 
in  the  life.  Just  as  good-byes  were  said 
at  high  noon  the  visitor  remarked  on 
the  balmy  day — ^"at  last."  Then  he  told 
about  getting  word  from  home  that 
on  one  recent  day  the  temperature  in 
Rochester — not  so  very  many  miles  from 
the  Canadian  line — 'Stood  at  83  degrees. 

But  that  is  George  Blair.  He  always 
leaves  with  you  something  to  think 
about,  to  remember  him  by. 

There  really  was  basis  for  the  intima- 
tion that  temperature  in  Los  Angeles 
has  not  been  so  "hot"  recently. 

T 

AT  LAST  the  camera  tourist  is  com- 
ing into  his  own.  No  longer  will 
•  he  be  an  object  of  condescension, 
tolerated  rather  than  welcomed,  by  the 
majority  of  his  personally  conducted 
"party."  No  longer  following  a  slight 
delay  caused  by  refusing  to  pass  up  a 


April,  1938    •    American  Cinematographer  159 


shot  he  just  had  to  have  will  he  be  com- 
pelled to  run  himself  breathless  through 
crowded  streets  to  catch  up  with  the 
fast  traveling  non-camera  addicts. 

Everything  is  going  to  be  all  right 
now.  There  will  be  a  Fototour.  In  fact, 
there  will  be  two  Fototours.  One  will  be 
through  the  Scandinavian  and  Baltic 
countries  and  the  other  through  England, 
Holland,  Belgium,  Germany,  Switzerland 
and  France. 

Each  will  be  in  charge  of  photogra- 
phers, each  one  of  whom,  it  may  be  sug- 
gested, seemingly  will  be  well  qualified 
to  make  good  on  his  particular  job.  One 
ordinarily  is  official  photographer  for  a 
university  medical  school,  and  presum- 
ably may  be  immune  to  questions  and 
conclusions  that  would  administer  a 
severe  jolt  to  one  less  hardened.  The 
other  leader  also  is  a  lecturer  as  well  as 
a  photographer  and  therefore  should  be 
reasonably  well  trained  not  only  in  the 
art  of  answering  with  rare  skill  but 
actually  "ducking"  questions  that  only 
an  amateur  advanced  in  ways  that  are 
dark  and  tricks  that  are  vain — some- 
times— may  propound. 

We  suggest  as  a  part  of  the  advertis- 
ing campaign  the  sponsors  announce 
that  tripods  may  be  taken  along — and 
that  there  will  be  opportunities  of  using 
them  to  the  advantage  of  the  tourist's 
product. 

Little  Chance  for  Tripod 

Let  us  refer  to  the  experiences  of  an 
American  woman  last  year  when  she 
tried  to  make  pictures  while  a  member 
of  a  personally  conducted  party  of  ten, 
of  which  it  may  be  mentioned  she  was 
the  only  one  packing  a  camera — and  that 
one  a  cine  camera. 

In  summing  up  her  adventures  on  her 
return  she  called  attention  to  the  fact 
that  many  tourists  grabbing  a  shot  here 
and  a  shot  there  made  sudden  decisions 
and  there  was  no  time  to  set  up  a  tripod 
if  she  planned  to  remain  with  her  com- 
panions. The  latter  would  be  well  in 
advance  of  her  even  if  she  made  a  quick 
exposure  without  benefit  of  tripod. 

On  one  occasion  the  ship  stopped 
twelve  hours  while  the  tourists  did  a 
seventy-five-mile  bus  jump  into  the  in- 
terior. The  only  concern  of  the  drivers 
was  to  get  their  passengers  to  their  in- 
land destination  as  quickly  as  possible 
and  again  return  them  to  the  ship  so 
there  would  be  margin  for  delays  that 
could  not  be  anticipated.  Exceptional 
locations  were  passed  on  the  highways, 
but  to  the  demands  of  the  amateur 
cinematographer  that  she  be  allowed  to 
record  them  on  film  her  only  response 
was  a  shake  of  the  head,  cold-bloodedly 
negative. 

On  a  Fototour,  too,  it  may  be  possible 
to  disregard  advice  that  hitherto  has 
seemed  sound  —  not  to  carry  a  still 
camera  if  toting  a  cine.  There  could  be 
specially  planned  cine  trips  and  still 
trips,  and  on  some  occasions  there  could 
be  combined  cine-still  sessions. 

It  is  of  added  interest  to  note  that  on 
the  outward  bound  journey  of  the  liner 
there  will  be  instruction  in  exposing  still 
and    cine    film    and   on   the  homeward 


bound  instruction  in  development,  en- 
largement and  cine  film  technique. 

There  is  a  suggestion  that  as  an  out- 
come of  the  tours  there  will  be  a  selec- 
tion of  the  better  photographs  for  the 
purpose  of  sending  them  on  a  visit  to 
the  principal  cities. 

Of  course,  it  is  possible  this  touch  of 
exhibitionism  may  not  appeal  to  the 
Fototourists.  We  will  venture  to  assert, 
however,  it  is  exceedingly  improbable. 
It  has  been  our  experience  that  if  any 
engine  of  restraint  has  been  created  that 
will  stop  a  photographer  from  display- 
ing his  wares  to  all  and  sundry  wherever 
found  the  fact  has  not  been  made  public. 

T 

RAYMOND  GARNETT,  chairman  of 
the  board  of  Viking  Films  Ltd.  of 
London,  was  a  visitor  at  the  office 
of  the  Cinematographer  at  the  end  of  the 
month.  Mr.  Garnett  is  cn  his  way  home 
to  London  following  a  tour  to  South 
Africa  and  Australia  with  the  British 
rifle  team.  Last  year  at  Bisley  in  the 
Empire  match  the  Australians  beat  the 
British  on  their  home  ground.  This  year 
at  Sydney,  with  its  team  of  fourteen 
contenders,  the  British  turned  the  tables. 
They  scored  23  points'  margin  over  Aus- 
tralia and  56  over  South  Africa. 

The  visitor  was  pulling  out  for  the 
Grand  Canyon  and  Chicago  the  morn- 
ing following  the  visit.  He  had  tried  to 
obtain  some  supersensitized  plates  while 
in  town,  but  the  best  answer  he  could 
get  was  that  even  if  he  were  in  Roches- 
ter these  probably  would  have  to  be 
made  up  for  him. 

It  should  be  explained  Mr.  Garnett  is 
an  enthusiastic  amateur  still  photog- 
rapher. His  enthusiasm  extends  to  the 
light  meter,  to  its  value  to  the  photog- 
rapher, to  the  surety  and  protection  it 
bestows  when  properly  interpreted  upon 
the  product  as  well  as  upon  the  man  be- 
hind the  camera.  And  it  is  his  expe- 
rience and  the  result  of  his  observation 
that  the  value  of  the  meter  extends  to 
major  professional  work  as  well  as  to 
the  less  ambitious  eff"orts  of  the  amateur. 

It  was  quite  apparent  to  the  editor  in 
the  course  of  an  enjoyable  chat  that  Mr. 
Garnett  is  a  staunch  admirer  of  the 
many  sided  ability  of  his  associate  in 
Viking,  Eric  Humphriss — who  brings  to 
his  work  of  producer  and  director  an 
expert  technical  knowledge  of  sound  and 
cutting  and  knowledge  of  other  factors 
that  enter  into  the  making  of  a  motion 
picture. 

e 

THROUGH  the  courtesy  of  the 
Radio  Vision  Corporation  of 
America  The  Cinematographer  is 
privileged  to  print  this  month  two  photo- 
graphs of  that  company's  new  television 
color  camera.  This  is  the  first  time  pic- 
tures of  it  have  been  i-eprcduced  in  a 
public  manner.  Owing  to  the  diagram- 
matic treatment  of  the  photographs  the 
halftones  will  be  of  unusual  interest  to 
professionals  and  amateurs  alike.  The 
pictures  are  on  Pages  160  and  161  ac- 
companying an  article  written  by  Wil- 
liam Langton  Prager. 


THE  Journal  of  the  Motion  Picture 
Society  of  India  calls  the  atten- 
tion of  its  readers  and  incidentally 
at  the  same  time  also  of  a  wider  audi- 
ence to  the  injury  it  believes  is  done  to 
India  and  its  people  by  reason  of  "anti- 
Indian  films  which  chiefly  emanate  from 
Hollywood."  These,  the  Journal  declares, 
"have  become  a  perennial  source  of 
danger  to  the  honor  and  prestige  of  our 
country  and  her  people. 

"Enough  has  been  written  estimating 
the  enormity  of  the  harm  done  through 
this  efi'ective  and  yet  subtle  medium  of 
the  celluloid  in  these  columns  as  also  in 
the  general  and  trade  press  throughout 
the  country." 

The  president  of  the  M.P.S.I.,  Sir 
Phirose  Sethna,  in  his  eff'ort  to  prevent 
the  continuance  of  pictures  which  the 
more  thoughtful  of  his  countrymen  de- 
clare to  be  a  libel  on  India,  has  written 
to  the  Secretary  of  State  in  Washington. 
In  that  communication  the  society's 
president  declared: 

"There  are  fewer  topics  which  have 
of  late  been  agitating  the  public  mind 
and  the  motion  picture  industry  in  par- 
ticular than  the  systematic  and  invidious 
propaganda  recently  carried  on  by  the 
Hollywood  producers  in  making  pictures 
either  wholly  anti-Indian  or  partly  so. 

"When  one  contemplates  how  the 
U.S.A.  has  been  benefiting  from  contact 
with  India  in  respect  of  motion  pictures 
the  injustice  done  to  India  through  such 
sinister  propaganda  becomes  all  the 
more  glaring  and  inexplicable." 

President  Sethna  says  if  there  prove 
to  be  no  relief  from  the  situation  com- 
plained of  India  will  be  "reluctantly 
forced  to  resort  to  more  eff'ective  meas- 
ures, which  assuredly  will  bring  about 
a  lot  of  preventable  unpleasantness  in 
their  wake." 

While  England  in  a  minor  way  is  in- 
cluded in  the  protest  lodged  by  motion 
picture  followers  in  India,  nevertheless 
the  major  complaint  is  against  picture- 
makers  of  the  United  States.  A  large 
percentage  of  the  offending  producers 
are  without  the  rolls  of  the  organized 
companies.  They  are  independents  with- 
out a  release  and  of  course  with  no  par- 
ticular responsibility  to  anybody. 

It  is  regrettable  any  agency  claiming 
United  States  citizenship  should  give 
offense  to  a  country  at  the  hands  of 
which  the  people  of  this  nation  have 
reaped  undoubted  benefit  through  the 
sale  of  equipment  and  the  distribution 
of  films.  There  are  plenty  of  moral  rea- 
sons why  the  greatest  of  the  picture- 
making  countries  should  throughout  the 
personnel  of  its  film  industry  make  every 
effort  to  deal  fairly  and  squarely  with 
the  people  of  all  nations. 

There  are  even  more  reasons  why 
films  originating  within  the  United 
States  should  deal  fairly  with  India. 
India  is  more  than  a  consumer  of  our 
goods.  It  is  a  great  country.  It  is 
more  than  a  vastly  populated  country. 
It  is  a  country  rich  in  tradition  and  in 
culture — from  the  store  of  which  waiting 
to  be  tapped  there  must  be  abundance 
of  entertainment  and  indirect  education 
for  the  rest  of  the  world. 


IGO     American  Cinematockai'Hkk    •    April,  1938 


Color  in  Broadcasting  Studied  by 
New  Hollywood  Television  Group 

By  WILLIAM  LAUGHTON  PRAGER 


ALTHOUGH  June  2S),  1936,  marks 
L\  the  initial  experimental  broadcast- 
X  jL  ing  of  television  in  America,  this 
year  1938  will  go  down  into  history  as 
the  beginning  of  regular  sight  and 
sound  programs  in  this  country.  In  the 
East  C.B.S.  is  broadcasting  from  the 
Chrysler  Building  daily  and  likewise 
N.B.C.  from  the  Empire  State  Building. 

Both  are  telecasting  direct  images  and 
indirect,  or  motion  picture  film,  at  the 
standard  sound  speed  of  24  frames  a 
second.  This  standard  has  been  estab- 
lished by  the  Federal  Communication 
Commission,  approving  the  essentials  of 
441  line  definition  and  a  video  and 
audio  carrier  wave  spacing  of  approxi- 
mately 3.25  megacycles. 

Not  to  be  overlooked  is  the  advance- 
ment made  by  the  Farnsworth  Corpora- 
tion in  the  outskirts  of  Philadelphia. 
They  broadcast  daily  both  direct  and  in- 
direct image. 

Here  on  our  West  Coast  the  Don  Lee 
Broadcasting  System  is  a  source  of  tele- 
vision broadcast,  having  been  televising 
off  and  on  for  several  years  indirectly 
from  black  and  white  motion  picture 
film  and  daily  since  the  first  of  the 
year. 

Local  Society  Active 
Although  not  strictly  adhering  to  the 
standards  as  established  in  the  East, 
its  experimental  station  W6XA0  fur- 
nishes data  for  the  construction  of  a 
cathode  ray  tube  receiver  designed  to 


receive  its  visual  images  on  45,000  K.C. 
(6  2-3  meters)  and  the  sound  accompany- 
ing the  images  on  the  companion  ultra 
high  frequency  of  54,300  K.C.  (SVa  me- 
ters). 

The  Hollywood  Television  Society 
membership  has  under  construction  sev- 
eral receivers  of  this  type,  for  at  the 
present  we  are  limited  to  the  use  of  this 
television  program  alone.  But  with  the 
completion  of  the  National  Broadcasting 
and  Columbia  Broadcasting  Systems' 
new  studios,  together  with  its  respective 
television  facilities,  here  in  Hollywood, 
this  community  will  likewise  become 
the  television  center  of  the  world. 
Home  Made  Equipment 

Due  to  this  activity  along  the  road 
to  television  perfection  in  the  East, 
radio  amateurs  on  the  5  meter  and  other 
bands  allotted  to  them  talk  of  nothing 
else  but  television.  It  is  anticipated  that 
much  toward  the  perfection  of  television 
will  come  from  the  efforts  of  these  very 
same  amateurs  in  building  up  their 
"home  made"  equipment  to  receive  the 
sight  and  sound  programs. 

It  is  the  mastery  of  the  ultra  high 
frequencies  that  is  bringing  television 
within  the  area  of  practical  use.  Re- 
search is  steadily  pushing  forward  into 
the  higher  regions  of  the  spectrum, 
which  but  yesterday  constituted  a  radio 
desert,  and  which  today  promise  the 
telecasting  of  objects  in  their  natural 
hues,  either  by  direct  or  indirect  pick- 


First  reproduction  in  any  publication  of  the  last  word  in  radio  television  camera 
for  color  pick-up  and  broadcast  on  either  radio  or  television  wave  length 
Courtesy  Radio  Vision  Corporation  of  America. 


WUUain  Lanf/tori  Prager 


up;  then  will  television  be  acclaimed  the 
major  of  the  visual  arts,  which  at  this 
time  includes  direct  ocular  vision  and 
still  or  motion  picture  photography. 

For  example,  let  us  compare  television 
with  the  human  eye  and  motion  pictures, 
of  which  television  is  a  direct  blending. 
Television  and  the  Eye 

Without  memory  our  eyes  would  be  of 
little  use.  Duration  of  the  envisioned 
picture  depends  upon  the  brain  to  re- 
member. With  the  motion  picture,  on 
the  other  hand,  we  have  a  permanent 
pictorial  record,  the  silver  image  in  the 
emulsion  on  the  film  representing  the 
stored  memory. 

Television,  oddly,  is  either  transient  or 
permanent,  depending  upon  the  mode 
of  use:  the  direct  electrical  pick-up,  or 
an  indirect  motion  picture,  either  pro- 
viding the  television  memory. 

Direct  vision  is  color  vision.  Similar- 
ly, motion  pictures  can  be  either  mono- 
chromatic or  in  color,  be  it  two  color  or 
more.  Likewase  with  television,  the 
theory  of  which  is  based  upon  the  con- 
version of  light  frequency  to  electrical 
frequency  in  the  "camera"  or  pick-up, 
and  its  reconversion  by  a  receiver. 

By  referring  to  a  chart  of  the  ether 
spectrum  we  readily  see  that 

Red  has  a  frequency  of  7000  angstrom 
units. 

Yellow  has  a  frequency  of  5890  ang- 
strom units. 

Blue  has  a  frequency  of  4500  angstrom 
units. 

The  human  eye  can  detect  but  from 
4000  to  7000  angs  or  the  equivalent  of 
the  rainbow  spectrum  of  seven  colors 
and  their  immediate  blending,  but  the 
photo-electric  cell  can  detect  colors  rang- 
ing from  2000  to  8000  angs  wave  length 
of  which  over  18,000  distinct  renditions 
are  detectable.   By  the  use  of  a  spectro- 


April,  1938    •    American  Cinematographer  161 


scope  these  are  visible  to  the  human  eye. 
Each  of  these  colors  has  its  mono- 
chromatic value  in  a  degree  of  gray,  to 
which  the  "color  camera"  converts  it  in 
a  "negative"  value  for  amplification  and 
broadcast  at  a  wave  length  of 

.00008  cm.  for  red. 

.00006  cm.  for  yellow. 

.00004  cm.  for  blue, 
employing  a  conversion  factor  of  IxlQH 
(one  with  eleven  zeros). 

The  converted  "negative"  color  wave 
lengths  are  mixed  on  a  "beat"  circuit  of 
greater  than  60,000  K.  C.  which  brings 
the  wave  band  pointing  below  the  cor- 
responding 5  meters,  and  at  less  than 
one  meter,  pointing  toward  the  future 
employment  of  the  higher  regions  of 


PHOTO  tours  through  picturesque 
and  historic  Continental  nations,  a 
departure  in  European  travel,  will 
be  undertaken  next  summer,  giving  the 
amateur  cine  camera  and  still  fans  op- 
portunities to  pursue  their  hobbies  under 
the  most  favorable  and  interesting  cir- 
cumstances. 

New  trails  and  old  will  be  blazed  on 
these  tours.  B.  E.  Mickeleit,  official 
photographer  for  Harvard  University 
Medical  School,  will  lead  a  group  through 
England,  Holland,  Belgium,  Germany, 
Switzerland,  and  France.  Gordon  Ben- 
nett, authority  on  photography,  world 
traveler,  lecturer  and  writer,  will  lead 
other  amateurs  through  the  rugged 
Scandinavian  Peninsula  and  the  Baltic 
countries. 

The  purpose  of  these  tours,  the  first 
of  their  kind  ever  seriously  attempted, 
is  to  make  it  possible  for  amateur 
photographers  to  go  in  groups  to  the 
points  of  major  interest  in  European 
countries  and  receive  expert  instruction 
and  direction  when  desired. 

Also,  full  cooperation  from  camera 
and  cine  organizations  in  the  countries 
visited  is  expected.  This  will  make  it 
possible  for  amateurs  of  the  United 
States  to  compare  notes  at  first  hand 
with  photo  experts  in  the  main  cities  of 
Europe.  Contacts  with  the  European 
amateurs  already  are  being  established 
by  William  M.  Barber  of  Babson  Park, 
Mass.,  who  is  in  charge  of  all  arrange- 
ments. 

Seven  Weeks'  Tour 

Highlight  of  the  Scandinavian-Baltic 
Tour  begins  in  New  York  July  2  and 
ends  in  the  same  city  August  19.  An  ex- 
tension tour  to  Belgium,  Holland  and 
France  winds  up  in  New  York  two  weeks 
later. 

The  basic  tour,  which  begins  in  New 
York  July  8,  includes  calls  at  Galway, 
Cobh  and  a  day  at  historic  Stonehenge, 
three  days  in  London  and  excursions 
into  rural  England.  Also  there  will  be 
two  days  in  The  Hague,  visits  to  Am- 


the  spectrum. 

The  reception  of  the  color  image  is  a 
direct  reversal  of  the  method  of  prepar- 
ing the  picked  up  image  for  televising, 
the  receiver  acting  as  an  "unscrambler" 
and  placing  the  same  upon  a  fluorescent 
plane  of  the  otherwise  black  and  white 
cathode  tube. 

With  the  coming  of  colorvised  tele- 
vision, which  will  greatly  be  enhanced 
by  the  use  alone  of  natural  color  motion 
pictures  for  indirect  program  release, 
we  can  truly  say  that  jointly  motion  pic- 
tures and  television  will  come  into  their 
own,  neither  one  supplanting  the  other 
but  together  advancing  the  enjoyment 
of  the  art  of  vision  as  granted  us  hu- 
mans by  "the  God  of  things  as  they  are." 


sterdam  and  Marken,  a  swing  through 
Belgium  and  four  days  in  Paris. 

This  trip  will  end  in  New  York  August 
5,  but  unlike  most  tours  the  actual  in- 
terest of  the  amateurs  will  continue  be- 
cause exhibitions  of  the  best  photographs 
taken  by  members  of  any  of  the  tours 
will  be  held.  The  first  exhibition  will 
be  in  New  York,  and  subsequently  the 
superior  pictures  taken  by  the  amateurs 
will  be  displayed  in  other  cities. 

Several  supplementary  tours  are 
planned  for  those  who  desire  to  visit 
additional  countries  where  superb  photo 
subjects  abound. 

Instruction  by  expert  leaders  for  those 
who  desire  it  will  be  given  for  both  cine 
work  and  the  taking  of  stills  on  the  liner 
going  to  Europe.  On  the  return  liners, 
they  will  give  instruction  in  develop- 
ment, enlargement  and  cine  technique. 


Industrial  Research  Labs 

Revising  Its  Bulletin  91 

The  increase  in  the  number  of  re- 
search laboratoiies  maintained  by  indus- 
trial concerns  in  the  United  States  dur- 
ing the  last  few  years  has  made  it  seem 
desirable  to  issue  a  new  edition  of  the 
National  Research  Council's  Bulletin, 
"Industrial  Research  Laboratories  of  the 
United  States,"  fifth  edition. 

On  March  25  questionnaires  were 
mailed  to  the  1562  concerns  which  were 
included  in  the  last  edition  of  1933  and 
to  a  large  number  of  new  concems  which 
are  thought  to  maintain  laboratories. 

If  the  reader  of  this  note  is  a  member 
of  a  firm  which  maintains  a  laboratory 
where  research  looking  toward  the  de- 
velopment and  improvement  of  products 
is  carried  on,  it  is  hoped  he  will  ascer- 
tain whether  a  questionnaire  has  been 
received  by  his  company,  and  if  not  that 
he  will  request  one  from  the  Library, 
National  Research  Council,  2101  Consti- 
tution Avenue,  Washington,  D.  C. 

There  is  no  charge  for  the  entry  in 
the  bulletin,  the  only  requirement  being 
that  the  laboratory  is  undertaking  re- 
search. 

It  is  desirable  to  have  the  information 
for  the  bulletin  in  hand  as  soon  as  pos- 
sible so  that  the  publication  may  appear 
within  the  current  year. 


Hypan  in  50  Feet  Reversible 

Agfa  Hypan  reversible  motion  picture 
film  is  available  until  further  notice 
and  on  special  order  in  50  foot  cassettes 
for  the  Siemens  Halske  16mm.  movie 
camera.  The  film,  which  is  a  fast  pan- 
chromatic material  giving  pleasingly 
brilliant  results,  is  processed  at  no 
charge  by  any  authorized  Agfa  reversal 
laboratory. 

It  may  be  obtained  by  ordering 
through  any  photographic  dealer. 


Note  automatic  ultra-rnpid  lean  turnover,  like  automatic  radio  dialing. 
Courtesy  Radio  Vision  Corporation  of  America. 


Fo  to  tours  to  Europe  fVtll  Mark 
Innovation  for  Amateur  Filmers 


162     American  Cinematographer    •    April,  1938 


Micro  Movies 
Most  Efficient 
Research  Tool 


MODERN  science  turns  the  movie  camera  on  a  set 
where  the  principal  actors  are  living  cells  and  tem- 
peramental molecules.  Sometimes  they  behave  nicely, 
sometimes  they  become  obstreperous,  sometimes  wild  and 
raving.  Sometimes  they  must  be  "made  up"  to  show  to 
best  advantage  on  the  screen.  Let  a  "movie  director"  tell 
the  story  of  his  pictures,  his  studio,  his  lighting  problems 
and  his  actors.  His  "location"  is  the  stage  of  a  high- 
powered  microscope.  His  leading  actors  are  dancing  mole- 
cules of  HOH  and  Ba  (Ct>,H3i,00'2.  (Off  location  they  are 
called  water  and  barium  stearate.)  But  before  going  on 
location  let  us  .see  what  the  other  "studios"  have  done  and 
(ire  doing. 


THE  use  of  micro  movies  in  the 
research  laboratory  is  not  new. 
Often  deep  in  the  abyss  of  a 
microscope,  protozoa,  cancer  cells,  prrow- 
ing  nerves  and  fertilized  egg  cells  have 
heard  the  click-click  of  a  shutter  at  the 
distant  end  of  the  microscope.  In  the 
case  of  actively  moving  protozoa  in 
good  light  the  movie  camera  is  run  at 
the  old  regular  silent  sixteen-frames-a- 
second  rate. 

In  the  case  of  slowly  changing  cells 
or  slowly  growing  nerves,  and  particu- 
larly when  extreme  magnification  must 
be  used,  a  very  simple  and  now  com- 
mon cinematographic  device  is  employed. 

Who  has  not  seen  "trick"  movies  of 
a  flower  suddenly  breaking  into  bloom  ? 
It's  the  same  idea  only  applied  to  a 
microscope  system  in  which  the  light 
source  and  the  shutter  control  are  care- 
fully synchronized.  Suppose  a  living 
nerve  cell  in  a  tissue  culture  is  moving 
at  about  the  same  rate  as  the  hour  hand 
on  a  small  wrist  watch.  This  is  imper- 
ceptible to  the  eye. 

A  nerve  cell  is  very  small,  and  even 
if  the  most  powerful  light  concentra- 
tion obtainable  is  focussed  directly  on  it, 
when  viewed  through  the  series  of  ten 
or  fifteen  lenses  which  comprise  the 
modern  high  power  microscope,  the  im- 


By  DR.  PAUL  A.  ZAHL 

The  Haskins  Laboratory, 
Schenectady,  N.  Y. 


age  of  the  cell  isn't  what  one  would  call 
ideal  for  movie  photography. 

But  the  difficulties  of  slow  movement 
and  insufficient  illumination  are  over- 
come with  one  stroke  of  engineering 
genius.  The  light  source  and  the  camera 
mechanism  are  synchronized  in  such  a 
way  that  when  the  former  flashes  on, 
the  latter  opens. 

Photographic  Nerve  Cell 

Now  suppose  it  is  desirable  to  photo- 
graph the  growth  of  a  nerve  cell  over  a 
period  of  24  hours.  The  camera  is  set 
so  that  the  light  goes  on  regularly  every 
two  minutes,  and  synchronously  the 
camera  shutter  opens  exposing  one 
frame  for  possibly  three  seconds. 

This  three-second  exposure  takes  care 
of  bad  illumination.  In  the  course  of  24 
hours  720  frames  are  exposed.  Finally, 
when  we  project  these  720  frames  at  nor- 
mal speed  one  gets  the  illusion  of  the 
continuous  and  regular  growth  of  the 
nerve  cell. 

The  whole  showing  of  this  24-hour 
growth  period  takes  about  45  seconds. 

Well,  such  movies  are  comparatively 
simple  to  make  and  the  method  has  been 


in  use  for  a  number  of  years.  But  how 
about  the  molecules? 

Recently  we  encountered  a  knotty 
problem  which  we  solved  only  after  con- 
siderable grief  by  the  application  of 
some  possibly  new  photographic  angles. 

We  start  with  a  slide  of  chromium 
which  had  been  polished  as  highly  as 
the  modern  rouge  technics  would  permit. 
On  one  half  of  this  highly  polished  sur- 
face we  apply  a  layer  of  barium  stear- 
ate exactly  one  molecule  thick,  and 
which  of  course  is  invisible. 

This  rather  remarkable  achievement 
of  being  able  to  deposit  a  single  layer 
of  molecules  is  made  possible  by  the 
application  of  a  technic  devised  by 
Nobel  Prize  Winner  Dr.  Langmiur. 

Influence  of  Barium  Stearate 

Now  as  one  breathes  lightly  on  the 
cool  chromium  thousands  of  very  tiny 
droplets  of  moisture  condense  on  the 
surface.  When  studied  under  the  micro- 
scope the  droplets  on  the  pure  chromium 
surface  are  altogether  different  from 
those  which  condense  where  the  mono- 
molecular  layer  of  barium  stearate  is. 

In  the  latter  case  the  droplets  are 
round,  hemispherical  and  very  small. 
Where  there  is  no  barium  stearate  they 
are  very  large,  irregular  and  flat. 

That  sounds  like  a  simple  and  unim- 


Right — Dr.  Zahl  and  equipment  used  to  get  high  speed  micro  movies  of  materials  which  must  be  viewed  by  overhead  rather 
than  by  the  usual  transmitted  light.  Left — Breathe  on  some  cool  metal.  Then  examine  the  surface  under  a  high-power 
microscope.    You'll  see  something  like  this.    Each  of  the  circles  is  a  water  droplet  several  thousandths  of  an  inch  in  diameter. 


April,  1938    •    American  Cinematographer  163 


(lt>V 

'.■'•V. 

V 

• 

• 

3t 

rii. 

Print  made  directly  from  strips  of  16mm. 
film.  The  circles  and  irregular  figures 
are  of  various  types  of  water  droplets, 
changes  in  which  the  movie  camera 
records. 


portant  observation,  but  if  one  stops 
to  consider  what  is  actually  happening 
when  water  is  condensed  on  a  surface 
one  sees  that  he  is  dealing  with  funda- 
mental forces  which  when  fully  under- 
stood may  have  wide  application. 

When  one  breathes  on  the  slide,  a 
stream  of  water  molecules  in  high  motion 
bombard  the  relatively  more  stationary 
chromium  molecules  of  the  slide.  Some 
of  the  water  molecules  (for  unknown 
reasons)  stick  to  the  chromium  mole- 
cules and  they  draw  other  molecules  to 
them. 

After  several  million  molecules  have 
aggregated  in  one  spot  the  droplet  be- 
comes barely  visible  under  the  micro- 


scope. This  same  thing  happens  on  the 
chromium  where  there  is  the  layer  of 
barium  stearate  molecules,  except  the 
droplets  when  they  attain  visibility  are 
of  different  shape  and  character. 

What  causes  the  barium  stearate  mole- 
cules to  condense  the  water  molecules 
in  a  fashion  unlike  condensation  on  the 
bare  chromium  ? 

That  is  a  problem  in  pure  molecular 
physics  and  cannot  be  dealt  with  here. 
In  trying  to  solve  that  problem,  however, 
it  was  necessary  to  get  movies  of  water 
droplets  as  they  grow  out  of  invisibility 
into  microscopic  visibility.  And  the 
problem,  of  getting  those  movies  is 
what  we  shall  deal  with  here. 

What  Makes  Molecules  Behave 

When  we  got  the  movies  it  was  our 
idea  to  project  each  frame  singly  on 
the  screen  as  a  still  and  take  measure- 
ments such  as  diameter  of  droplets,  con- 
tact angles,  etc. 

From  a  series  of  hundreds  of  such 
measurements  on  different  frames  one- 
sixteenth  of  a  second  apart  mathematical 
calculations  can  be  made  which  clear 
some  of  the  mysteries  enshrouding 
forces  which  cause  molecules  to  behave 
as  they  do. 

But  first  the  movies  had  to  be  got. 
Since  the  chromium  slide  was  opaque, 
light  could  obviously  not  be  transmitted 
from  underneath  as  in  the  case  of  most 
micro  preparations.  A  strong  beam  of 
light  shot  directly  on  to  the  slide  at  a 
glancing  angle  was  tried,  but  the  grow- 
ing water  droplets  merely  reflected  the 
light  source  as  points,  and  through  the 
microscope  one  had  the  impression  of 
looking  down  on  a  field  of  sparkling 
diamonds.  Such  a  glittering  field  was 
pretty  but  useless  for  our  purposes. 
Furthermore,   such  light  was   too  hot. 

We  next  tried  all  the  standard  devices 
for  overhead  illumination  —  the  Silver- 
man lamp,  the  Epicondenser,  the  Spierer 


Chromium  surface  which  has  been  treated 
in  certain  areas.  When  water  is  con- 
densed on  the  surface  these  areas  show 
up  conspicuously. 


lens,  the  Ultropaque.  The  latter  seemed 
to  give  us  what  we  wanted.  The  ordinary 
Leitz  Ultropaque  gives  one  an  adjust- 
able cone  of  light  falling  on  the  object 
at  an  angle  of  90  degrees. 

The  objective  penetrates  the  cone 
perpendicularly  and  directly  in  the  cen- 
ter. The  water  droplets  when  viewed 
through  the  Ultropaque  appeared  each 
as  a  circle  of  light.  This  was  fine  be- 
cause from  this  we  could  take  the  mea- 
surements we  wanted. 

Final  Not  So  Easy 

But  the  final  difficulty  wasn't  so 
easy.  It  centered  around  the  fact  that 
the  movie  camera  had  to  be  running  at 
a  rate  somewhere  between  16  and  64 


Left — This  is  a  photo  of  a  chromium  surface  shortly  after  moisture  has  been  condensed  on  it.  On  the  right  hand  side  where 
the  droplets  are  larger  the  surface  had  been  coated  with  three  invisible  monomolecular  layers  of  barium  stearate.  On  the  left 
only  one  layer  had  been  deposited.  Why  do  the  water  droplets  differ  on  both  sides?  That's  what  the  scientists  are  trying  to 
find  out.  The  accompanying  article  tells  how  they  use  movie  technic  in  their  quest.  The  streaks  are  "scratches"  on  the  sup- 
posedly perfectly  polished  surface.  Right — //  the  surface  of  the  chromium  slide  is  absolutely  clean  and  free  from  all  con- 
tamination the  condensed  water  droplets  take  on  a  peculiarly  irregular  shape. 


164      American  Cinematographer    •    April,  19::i8 


frames  a  second,  and  not  at  the  inter- 
mittent rate  previously  described  for 
taking  the  growing  nerve  cell. 

To  take  micro  pictures  at  this  rate, 
even  on  the  most  sensitive  emulsions, 
requires  brilliant  illumination.  The  usual 
source  of  illumination  used  with  the 
Ultropaque  is  a  built-in,  low-wattage 
lamp. 

At  the  magnifications  we  were  using 
one  could  barely  see  the  field,  let  alone 
take  rapid  movies.  So  we  procured  what 
is  called  a  bullseye  condenser  which  fits 
as  a  side  arm  on  to  the  Ultropaque. 
Into  this  bullseye  we  fed  a  condensed 
beam  of  light  coming  from  a  special 
micro  lamp  with  a  500  watt  filament. 
Now  when  the  light  from  a  500  watt 
filament  is  concentrated  to  a  point,  that 
point  is  really  bright,  and  also  hot. 

It  was  necessary  to  keep  heat  off  of 
our  water  droplets.  So  the  beam  of 
light  was  cooled  by  passing  it  through 
a  column  of  air,  into  the  bullseye  con- 
denser, through  several  pairs  of  circular 
prisms,  and  finally  down  on  the  object 
— ■  where  it  came  out  cool. 

Now  having  solved  the  illumination 
problem  we  combined  the  camera  and 


microscope  so  as  to  make  a  complete 
unit.  A  Leica  Ipso  attachment  made  it 
possible  to  view  the  object  while  actually 
taking  the  pictures.  For  movie  equip- 
ment we  used  an  ordinary  16  mm.  Bell 
and  Howell. 

When  using  such  an  arrangement  as 
this  it  is  necessary  that  the  camera  have 
no  actual  contact  with  the  microscope. 
The  vibration  of  the  camera  mechanism 
makes  the  finished  movie  when  projected 
have  the  St.  Vitus  dance  to  a  superla- 
tive degree. 

No  Lens  in  Camera 

No  lens  was  used  in  the  camera,  the 
ocular  of  the  microscope  serving  the 
purpose.  To  be  sure  that  the  micro 
image  was  focussed  directly  on  the  cam- 
era film  sluice,  the  light  was  turned  on, 
the  camera  opened  and  a  piece  of  wet 
tissue  paper  slipped  into  the  film  sluice. 
This  acted  as  a  ground  glass  upon  which 
actual  focus  could  be  made. 

Thus  with  a  heterogeneous  assem- 
blage of  material  we  got  the  movies  we 
wanted.  There  was  a  Bausch  and  Lomb 
micro   lamj),   a    Spencer   microscope,  a 


Leitz  Ultropaque  and  Ipso  attachment, 
a  Zeiss  ocular,  A  Bell  and  Howell  camera 
and  Eastman  film. 

When  such  movies  are  projected  at 
normal  rate  one  sees  at  first  nothing  but 
a  dark  field.  Then  one  sees  infinitely 
small  stars  beginning  to  twinkle  against 
the  blackness.  These  are  in  the  order 
of  one  fifty  thousandth  of  an  inch  in 
diameter. 

Slowly  they  grow  to  become  hemi- 
spherical or  irregular  droplets  of  possibly 
one  five  hundredth  of  an  inch  in  diam- 
eter. We  reverse  the  action  of  the 
projector  and  slowly  they  decrease  in 
size  and  disappear  beyond  the  limits  of 
microscopic  visibility. 

Then  we  stop  the  mechanism  and  pro- 
ject only  one  frame.  We  go  to  the 
screen  and  carefully  measure  the  diam- 
eters of  all  the  droplets  in  the  field. 
We  turn  to  the  next  frame  and  repeat 
the  measurements  and  continue  thus 
until  we  have  data  on  all  the  droplets  on 
all  the  frames. 

The  movie  camera  has  served  its 
purpose.  It  has  given  us  quantitative 
data  which  is  now  ready  for  mathe- 
matical analysis. 


Tales  of  the  Seas  Lead  Program 
at  Littles '  Sixth  Film  Evening 


THE  sixth  and  thus  far  the  most 
outstanding  of  the  subscription 
series  of  Motion  Picture  Evenings 
sponsored  by  Mr.  and  Mrs.  Duncan 
MacD.  Little  and  Thomas  H.  S.  An- 
drews was  held  March  5. 

"To  the  Seven  Seas"  was  an  extremely 
interesting  film  of  not  noteworthy  pho- 
tography, accompanied  by  a  running 
commentary  of  high  adventure.  Two 
American  college  students  who  gave  up 
collegiate  life  to  answer  the  call  of  the 
sea  and  a  young  London  bank  clerk 
sailed  from  New  York  in  January,  1935, 
through  the  canal  and  by  way  of  the 
Galapagos — Fiji,  Samoa,  Tahiti,  the 
Marquesas  and  many  other  lesser  known 
islands — to  the  Philippines  and  China, 
where  their  adventures  came  to  a  sud- 
den end  in  Peiping  due  to  the  war. 

They  added  several  hitherto  unknown 
and  uncharted  islands  to  the  map  and 
had  all  sorts  of  experiences,  which  lost 
nothing  by  the  informal  manner  of  the 
telling. 

At  the  outset  they  were  accompanied 
by  a  professional  cameraman,  but  "life 
on  the  ocean  wave"  proved  too  much  for 
him  and  he  left  the  expedition  at  Pana- 
ma. From  then  on  these  boys  had  to  be 
their  own  cameraman,  and  not  one  of 
them  had  ever  before  shot  a  foot  of 
film.  Even  on  occasions  they  were 
forced,  for  climatic  reasons,  to  process 
their  own  film.  Considering  all  facts, 
their  results  are  highly  creditable. 

"In  from  the  Sea"  is  a  forthright  and 
interesting  documentary  film.  The  musi- 
cal accompaniment  is  excellent,  and 
this,  with  the  recorded  sounds  of  ship- 


yard activities,  make  it  an  outstanding 
film. 

"The  Plow  that  Bi-oke  the  Plains" 
calls  for  little  comment.  It  appeared  to 
have  been  cut  at  the  end,  omitting  what 
had  been  thought  to  be  outright  propa- 
ganda. If  so  it  was  improved — for  the 
message  that  was  conveyed  needs  no 
artificial  build-up. 

Some  thirty-three  subscribers  at- 
tended, and  all  voted  the  program  a 
success.  After  the  usual  refreshments, 
followed  by  general  discussion  of  the 
films  exhibited,  of  "Snow  White"  and 
George  Pal's  "Puppettoons,"  which  had 
just  been  seen  in  New  York  a  few  days 
before,  the  Evening  ended. 

The  program  for  the  Seventh  Evening 
of  the  series,  to  be  held  April  9,  will 
be  the  films  to  be  exhibited  at  the  In- 
ternational Amateur  Movie  Show  to  be 
presented  at  Columbia  University  on 
April  6,  as  an  integral  part  of  the  Mo- 
tion Picture  Parade.  This  program  is 
being  arranged  for  the  division  of  film 
study  by  Mr.  Little. 


Agfa  in  1938  Will  Spend 

Record  Sum  in  Advertising 

AGFA  Ansco  Guaranteed  Film  will 
/-%  be  promoted  in  1938  by  the  heav- 
iest  national  consumer  advertising 
schedule  ever  adopted  for  it,  the  corpora- 
tion announces.  In  addition,  camera  deal- 
ers will  be  given  unusual  opportunities 
for  profits  through  three  sales-building 
assortments. 

Ten  national  magazines  with  a  total 


circulation  of  more  than  17,000,000  will 
carry  full  page  Agfa  Ansco  advertise- 
ments during  the  year.  They  are  Satur- 
day Evening  Post,  Collier's,  Life,  Na- 
tional Geographic,  American,  Cosmopoli- 
tan, Redbook,  Liberty,  Esquire  and  For- 
tune. 

In  addition,  there  will  be  a  full  year- 
round  advertising  schedule  in  all  the 
leading  photographic  magazines  devoted 
to  advanced  amateurs  and  professionals. 


30  Cents  from  Amusement 
Dollar  Is  Spent  on  Movies 

MORE  than  29  cents  out  of  every 
amusement  dollar  in  American 
villages  goes  to  the  movies,  if 
a  study  of  family  living  in  140  villages 
recently  made  by  the  Bureau  of  Home 
Economics  of  the  Department  of  Agri- 
culture is  a  criterion. 

In  these  villages,  chosen  as  represen- 
tative American  communities,  9407  fam- 
ilies gave  detailed  accounts  of  amuse- 
ment expenses  for  a  twelve-month  pe- 
riod during  1935-6  to  field  agents  work- 
ing under  the  direction  of  the  Bureau 
of  Home  Economics. 

New  England  villagers  spent  30  cents 
of  every  amusement  dollar  for  movies. 
In  the  Pennsylvania,  Ohio,  Michigan, 
Illinois,  and  Iowa  villages  studied,  29 
cents  from  each  amusement  dollar  took 
some  member  of  the  family  to  the 
movies.  The  popular  modern  entertain- 
ment drew  30  cents  out  of  each  amuse- 
ment dollar  in  the  villages  of  Kansas, 
North  Dakota,  South  Dakota,  Colorado, 
and  Montana. 

The  Pacific  Coast  villagers  spent  29 
cents  of  each  amusement  dollar  for 
movies.  In  the  Southeast,  the  white 
families  channeled  36  cents  of  each 
amusement  dollar  into  the  picture  show 
box-office,  and  the  Negro  families  37 
cents. 


April,  1938    •    American  Cinematographer  165 


A  NEW  ACCESSORY 

THE 

FOCUSING  FINDER 

FOR 

MAGAZINE 
CINE-KODAK 

ADDS  CRITICAL  ACCURACY 
AND  GREATER  VERSATILITY 
TO   OPERATING   EASE  .  .  . 


•v 

I 

0  \B<>\'K:  The  _fihin'r  is  preparing  tit  iitakf  a  <-hts«'-up  ftf  a  ffoltljish^ 
using  Magnzinp  ('inR-h<Klak  ami  its  X-iiirh  tfleplntto  lens.  He  is 
litokitig  thraiigh  the  eyepiece  of  the  t'ociisiiig  h'itnler  uhich  is  in 
ptisition  in  the  camera,  ami  is  fttcnsing  the  lens.  The  camera  is  ttn  a 
C.ine-Ktulali  TripotI — ;/"<>r  n-hich  an  atUtpter  hase  for  Magazine  iVttte- 
Kotlak  is  aiailahle.  For  light,  he  is  using  KotUiflector.  East  man's  $5 
reflector,  anil  I'holoflootI  lamps.  On  tlie  shelf  are  magazines  of 
kotlaihroine  h'ilm.  I'ype  1  for  I'holoflooil.  anil  the  Coin  par  t  men  t 
I'arrying  Case  for  Magazine  i'.iiie-hoiink  anil  extra  lenses. 

#  I.KKT:  The  Focusing  Fiiuler  is  shotcn  in  position  in  the  Magazine 
Cine-Koilak — if  is  slipped  into  ami  ont  of  the  film  magazine  chani- 
her  het  tceen  shots. 


Its  eft'ortless  loading  and  its  great  versatility  have 
won  thousands  of  enthusiastic  users  for  Magazine 
Cine-Kodak.  Loading  in  three  seconds  with  film 
packed  in  light-tight  metal  magazines,  with  three 
speeds,  fast  1-inch /.1. 9  lens,  and  seven  interchangeable 
accessory  lenses — ranging  from  15  mm.  wide  angle  to 
6-inch  telephoto — it's  the  ideal  camera  for  the  more 
advanced  filmer.  This  scope  is  now  further  increased 
through  a  new  accessory — a  reflex  Focusing  Finder  for 
Magazine  Cine-Kodak. 

This  finder  adds  to  magazine-loading  and  inter- 
changeable lenses,  two  more  important  features  char- 
acteristic of  the  professional  motion  picture  camera — 
positive  precision  focusing  and  visual  determination  of 


field  covered  by  the  lens.  These  adx  aiitages  are  espe- 
cially desirable  for  close-ups,  telephoto  shots,  and  in 
titling.  The  Finder  is  slipped  into  the  camera  in  place 
of  the  film  magazine,  between  shots,  and  is  effective 
with  any  of  its  eight  interchangeal)le  len.ses — and  at 
any  distance.  Of  ca.st  aluminum,  weighing  8}/2  ounces, 
the  Focusing  Finder  for  Magazine  Cine-Kodak  is 

Whether  your  hlming  plans  are  making  simj)le  per- 
sonal records — or  more  ambitious  productions,  you 
won't  outgrow  the  Magazine  Cine-Kodak.  Through 
a  full  line  of  precision  accessories,  it  will  keep  in  step 
with  your  increased  demands.  See  this  remarkable 
camera,  its  accessory  lenses  and  the  Focusing  Finder 
at  vour  Cine-Kodak  dealer's. 


EASTMAN    KODAK    COMPANY,    R  O  C  H  E  S  T  E  R  ,  N  .  Y. 


166     American  Cinematographer    •    April,  1938 


European  Product  Eumig  C4  8mm. 
Camera  Enters  American  Market 


A DISTINCTIVE  new  8mm.  camera, 
powered  by  a  self-contained  elec- 
tric motor,  has  recently  appeared 
on  the  American  market.  Known  as  the 
Eumig  model  C4,  it  has  scored  a  decided 
success  among  European  amateurs,  and 
bids  fair  to  do  the  same  among  Ameri- 
can cinefilmers. 

The  distinctive  feature  of  this  camera 
is  the  fact  that  it  is  driven  by  a  midget 
electric  motor,  power  for  which  is  sup- 
plied by  a  20-cent  flashlight  battery. 
The  battery  used  is  either  a  standard 
Ever-Ready  No.  1289  or  a  Burgess 
No.  532. 

The  makers  claim  each  battery  will 
expose  at  least  10  double-run  8mm.  rolls 
before  needing  replacement.  At  this  fig- 
ure it  is  understood  to  have  a  reserve 
of  100  per  cent.  In  the  event  the  camera 
is  not  used  with  reasonable  frequency 
it  is  recommended  that  the  battery  be 
replaced  every  six  months. 

Since  the  Eumig  camera  eliminates 
not  only  the  bulk  and  weight  of  the  con- 
ventional clockwork  motor,  but  also  the 
physical  stre.sses  involved  in  winding  a 
heavy  spring,  the  C4  achieves  compact- 
ness and  lightness  notable  even  in  8mm. 
equipment.  The  camera  is  box-form, 
and  measures  4%  by  4%  by  2%  inches, 
and  weighs,  complete  with  battery,  1 
pound  6  ounces. 

Mechanism  Ingenious 

The  camera  is  made  in  three  sections: 
the  main  body  and  two  sliding  covers 
hou.sing,  respectively,  the  battery  and 
motor  on  the  right,  and  the  film-moving 
mechanism  on  the  left.  These  compart- 
ments  are  light-tight  and  independent 


of  each  other,  so  that  batteries  may  be 
changed  with  perfect  safety  regardless 
of  whether  the  camera  is  loaded.  The 
camera  case  is  diecast  metal,  in  black 
crackle  finish  with  chromium  plated 
fittings. 

The  film  moving  mechanism  is  ingeni- 
ous. The  feed  spool  is  held  on  a  non- 
rotating  spindle  and  feeds  the  film  over 
a  relieved  idling  roller  into  the  film 
channel.  The  film  is  moved  by  a  single 
spring-loaded  claw  located  above  the 
aperture.  The  pressure  plate  is  com- 
pletely removable  and  is  held  in  place 
by  a  flat  steel  spring  bearing  against 
a  stationary  post. 

Below  the  gate  is  a  small  post  with 
two  serrated  rubber  flanges  positioned 
to  align  with  the  sprocket  holes  of  the 
film.  It  is  claimed  that,  if  for  any  rea- 
son the  pull  on  the  take-up  should  be- 
come too  strong,  the  lower  loop  would 
pull  up  against  these  rubber  flanges, 
the  serrations  of  which  would  engage 
in  the  perforations  and  act  as  shock 
absorbers  to  prevent  the  pull  from  being 
transmitted  to  the  film  in  the  aperture. 
Due  to  this  construction  the  gate  press- 
ure has  been  reduced  to  a  minimum. 

The  take-up  spindle  is  of  ingenious 
construction.  Instead  of  using  the  fa- 
miliar keyed  spindle,  the  Eumig  C4  em- 
ploys a  spindle  with  an  expanding, 
spring-action  skirt  which  appears  to  grip 
the  reel  quite  as  effectively  as  the 
familiar  keyed  spindle. 

The  camera  is  fitted  with  a  Berthiot 
Perlynx  lens  of  the  usual  12.5mm.  focus 
and  an  aperture  of  f:2.5.  This  lens  is 
calibrated  after  the  French  custom,  with 
the  apertures  indicated  as  f:2.5,  f:3.5, 


f:5,  f:7,  f:10,  f:14  and  f:20.  The  lens 
is  of  the  universal  focus  type,  and  is 
not  interchangeable. 

One  Speed 

The  Eumig  C4  has  but  one  operating 
speed — 16  frames  per  second.  A  lock- 
ing catch  directly  below  the  lens  serves 
a  double  purpose.  Placed  in  the  "locked" 
position  when  the  camera  is  not  run- 
ning it  locks  the  release,  preventing 
accidental  operation. 

When  engaged  while  the  camera  is 
operating,  the  same  device  locks  the 
camera  in  operation,  so  that  the  camera- 
man may  leave  it  to  run  itself.  A 
standard  American  tripod-screw  bushing 
is  fitted. 

The  camera  tested  by  a  representative 
of  The  American  Cinematographer  per- 
formed excellently.  The  lens  yielded 
satisfactory  quality  and  definition  at  all 
apertures.  Tests  for  steadiness  of  film 
motion  showed  almost  perfect  vertical 
steadiness,  though  a  small  lateral  weave 
was  noticed;  the  latter  was  by  no  means 
objectionable,  however,  as  it  was  only 
discernible  in  test  shots,  made  from  a 
tripod,  of  a  printed  test  chart.  In  hand- 
held scenes,  the  steadiness  was  remark- 
ably satisfactory. 

Visual  inspection  of  the  running  of 
the  camera  had  given  the  impression 
that,  under  load,  it  might  be  a  trifle  slow 
in  getting  up  to  speed,  due  to  inertia. 
Actual  tests,  however,  disproved  this. 
Due  apparently  to  the  lightness  of  the 
moving  parts  and  the  minimized  pres- 
sure of  the  aperture-plate,  the  camera 
came  up  to  speed  instantly.  There  was 
no  observable  over-exposure  of  the  first 
(Continued  on  Page  168) 


April,  1938    •    American  Cinematographer  167 


TbisiA  4ihs  movk  C^a 


Metropolitan,  New  York 

The  March  meeting  of  the  Metropoli- 
tan Motion  Picture  Club  was  marked  by 
the  observance  of  Guest  Night.  This 
meeting  was  held  as  a  continuation  of 
a  custom,  begun  four  years  ago,  of 
setting  aside  one  night  in  the  year  when 
members  could  invite  their  friends  to 
attend  a  regular  MMPC  meeting. 

Originally  intended  as  an  evening  of 
entertainment  for  the  guests,  the  meet- 
ing also  has  come  to  mean  a  great  deal 
to  members  since  it  gives  them  an 
opportunity  to  compare  their  own  opin- 
ions of  good  amateur  films  with  the 
opinions  of  those  less  concerned  by 
technical  details. 

The  program  included  the  screening 
of  "Richmond  Under  Three  Flags,"  a 
suave  publicity  film  by  Waldo  E.  Austin 
featuring  some  excellent  color  photog- 
raphy of  this  leisurely  city  of  the  Old 
South;  "Vacation  by  the  Gallon,"  a 
sparkling  comedy  of  gasoline  touring; 
and  "Redesigned  for  Living,"  describing 
the  wonders  of  orthopedic  surgery.  This 
last  film  was  done  as  a  club  project  by 
the  Cinema  Club  of  the  Oranges  for  use 
by  one  of  the  local  hospitals  in  publicity 
work. 

Announcement  also  was  made  of  plans 
for  the  celebration  of  the  tenth  anniver- 
sary of  the  Metropolitan  Club.  This 
will  take  the  form  of  a  Gala  Night  pro- 
gram to  be  held  April  29  at  the  Hotel 
Pennsylvania. 

For  this  occasion  a  program  of  out- 
standing amateur  films  and  of  speakers 
well  known  in  both  the  professional  and 
amateur  motion  picture  fields  is  being 
arranged. 

Similar  programs  in  past  years  have 
brought  audiences  of  over  400  New 
Yorkers  interested  in  amateur  films  and 
their  production.  It  is  expected  this 
year's  program  will  be  superior  to  any 
previously  presented. 

Australian  Society 

The  February  number  of  Movie  News, 
official  organ  of  the  Australian  Amateur 
Cine  Society,  gives  considerable  space 
to  describing  a  Kodachrome  subject 
shown  at  the  previous  meeting,  a  pic- 
ture from  the  camera  of  A.  J.  Perier. 
The  editor  of  this  unusual  bulletin,  a 
printshop   product,  by   8%  inches 

and  containing  eight  pages  and  cover, 
highly  praises  the  exposure  and  the 
quality  of  the  color. 

Accounting  for  the  latter  factor  the 
editor  ascribes  the  difference  to  a  Pola 
screen  used  in  front  of  the  lens  and 
goes  into  considerable  length  to  explain 
why.  The  photographer  equipped  with 
this  invention  of  Edwin  H.  Land  will 
find   that  he  has  considerable  control 


over  contrasts  in  his  subject,  the  editor 
proceeds,  "even  though  he  may  be  unable 
to  change  the  lighting  on  his  subject. 
Unwanted  reflections  disappear.  Re- 
flections can  be  practically  removed  from 
glass  or  water  to  show  detail  beyond 
or  below.  There  are  big  possibilities  in 
polarized  light." 

The  trophy  offered  by  an  anonymous 
donor  for  the  best  film  shown  in  general 
meeting  throughout  the  year  was  pre- 
sented to  James  A.  Sherlock  —  and  it 
was  for  "To  the  Ships  of  Sydney." 

Films  taken  by  members  during  the 
Zoo  outing  as  a  rule  were  disappointing, 
the  chief  complaint  being  underexposure. 
The  two  exceptions  were  photographed 
by  Messrs.  Perier  and  Sharp,  the  former 
for  reasons  previously  described  and  the 
latter  for  reasons  associated  with  his 
use  of  the  Smethurst  high-light  system. 

H.  Roy  Booth  was  re-elected  as  presi- 
dent and  W.  L.  Robinson  was  chosen 
treasurer.  Miss  V.  Stone  will  continue 
as  secretary  until  her  departure  for 
abroad  in  April. 

Victorian  Amateur  Cine 
(From  Australian  Amateur  Cine 
Bulletin) 

The  Victorian  Amateur  Cine  Society 
has  commenced  the  New  Year  well  by 
moving  into  permanent  residence.  H.  A. 
Tregellas,  who  was  with  us  recently, 
reports  that  for  its  new  premises  the 
Club  is  indebted  to  the  generosity  of 
three  members,  Messrs.  V.  Alford,  W. 
Kerr  and  J.  H.  Jackson,  who  have  agreed 
to  rent  the  room  for  three  weeks  out 
of  four,  the  Club  paying  for  the  fourth 
week.  In  addition,  they  have  decorated 
and  fitted  the  rooms  with  projection 
cabin,  wiring  and  lighting,  proscenium 
and  screen,  etc. 

The  rooms  are  suitable  for  interior 
work,  rehearsals,  processing,  etc.,  and 
are  convenient  to  the  city.  The  officials 
for  1938  are:  President,  V.  Alford  (re- 
elected); vice-president,  C.  O.  Welsh; 
honorary  secretary.  Miss  Amatruda; 
organizer,  W.  Kerr;  technical  adviser 
and  trustee,  J.  H.  Jackson  (formerly 
treasurer) ;  committee,  H.  White,  J.  Lind, 
B.  Norgate  and  H.  A.  Tregellas. 

The  organizer  is  responsible  for  seeing 
that  officials  and  staff  are  ready  for 
all  functions,  outings,  films,  etc.  The 
technical  adviser  and  trustee  has  charge 
of  all  club  property  and  arranges  for  the 
interchange  of  technical  knowledge. 

Los  Angeles  Cinema  Club 

The  regular  monthly  meeting  of  the 
Los  Angeles  Cinema  Club  was  held  at 
the  Bell  and  Howell  Auditorium,  Tues- 
day, March  1.  It  was  called  to  order 
by  President  Gram  at  7:30  p.m.  Hal 
Hall  spoke  briefly  on  "African  Holiday." 
Fred  Champion  spoke  on  demand  for 
educational  films.    The  minutes  of  the 


previous  meeting  were  read  and  ap- 
proved. 

Members  were  notified  that  all  club 
owned  equipment  would  be  rented  for 
the  following  charges:  Turntable  equip- 
ment, $2  for  the  first  night  and  50  cents 
a  night  thereafter;  title  equipment,  no 
charge  for  the  first  two  nights  and  25 
cents  a  night  thereafter;  splicing  equip- 
ment, no  charge  for  the  first  two  nights 
and  25  cents  each  night  thereafter.  All 
equipment  must  be  picked  up  from  and 
returned  to  the  technical  committee. 

Messrs.  Mitchell,  Pyle,  Newmiller  and 
Walker  were  assigned  the  test  problem 
for  the  April  meeting. 

Dr.  Sauerman's  film  on  under  and 
over  exposure  was  projected  and  fol- 
lowed by  discussion.  Mr.  Wade  of  the 
General  Electric  Company  spoke  on  the 
new  General  Electric  Exposure  Meter 
and  demonstrated  its  use. 

Dr.  Sauerman's  film,  "A  Trip  to 
Catalina,"  and  Dr.  Bailey's  film,  "A 
Dirty  Gate"  or  "Shooting  Over  the 
Hedge,"  were  projected  for  club  discus- 
sion and  criticism.  Tracy  Hall  ran  a 
sample  of  his  Kodachrome  taken  on  his 
recent  trip. 

Los  Angeles  8mm  Club 

The  March  meeting  of  the  Los  Angeles 
8mm.  club  was  held  at  the  Bell  and 
Howell  auditorium,  March  8. 

An  announcement  was  made  of  a  con- 
test to  be  held  in  April  with  worthwhile 
prizes  to  be  awarded.  The  length  of 
these  films  shall  be  no  greater  than  that 
which  can  be  put  on  a  50  foot  Eastman 
reel. 

The  feature  of  the  evening  was  a 
demonstration  by  Forest  Rowland  of  the 
Dieterich-Post  Company.  Mr.  Howland 
showed  the  different  sizes  and  styles  of 
the  Wrico  Lettering  Guide  and  answered 
questions  pertaining  to  the  cost  and 
manner  of  using  them. 

Mr.  Blaisdell  introduced  Hal  Hall,  who 
invited  the  club  to  attend  the  local  pre- 
miere run  of  Mr.  and  Mrs.  Harry  C. 
Pearson's  picture,  "African  Holiday," 
which  was  to  start  an  engagement  at 
the  Grand  Theatre  March  25.  The  club 
signified  its  intention  of  attending  and 
Mr.  Hall  agreed  to  reserve  100  seats  for 
the  club  at  the  9  o'clock  show  on  the 
opening  night. 

The  Still  Photographers'  Committee 
took  flashlight  pictures  of  the  meeting 
and  also  announced  that  beginning  with 
the  April  meeting  still  pictures  of  each 
member  would  be  taken  before  the  meet- 
ing to  be  placed  on  his  membership  card 
for  identification  purposes. 

The  technical  committee  had  its  in- 
ning, followed  by  a  short  intermission. 

The  remainder  of  the  evening  was 
given  over  to  the  running  of  members' 
films  and  never,  other  than  in  contests. 


168     American  Cinematographer    •    April,  1938 


have  we  seen  such  a  high  average  of 
good  and  interesting  photography. 

The  meeting  was  then  adjourned  until 
April  12th  at  the  Eastman  Auditorium. 

BION  B.  VOGEL,  Secretary. 


Philadelphia  Cinema  Club 

The  March  meeting  of  the  Philadelphia 
Cinema  Club  brought  to  a  close  the 
regime  of  the  officers  who  had  been  at 
the  helm  since  the  formation  of  the 
club,  two  years  ago.  These  were  chosen: 

President,  Ripley  W.  Bugbee;  vice 
president,  A.  L.  O.  Rasch;  secretary- 
treasurer,  Horace  W.  Wilson. 

The  new  officers  all  were  former 
members  of  the  executive  council  and 
also  were  charter  members.  Mr.  Bug- 
bee  was  former  chairman  of  the  pro- 
gram committee,  Mr.  Rasch  secretary- 
treasurer  and  Mr.  Wilson  chairman  of 
the  technical  committee. 

The  club  has  reached  its  constitutional 
limitation  of  seventy-five  members  and 
has  eight  applications  on  the  waiting 
list. 

The  meeting  was  enlivened  by  a  black 
and  white  film  in  8  mm.,  by  member 
W.  D.  Coles,  covering  a  trip  to  Cuba. 
It  was  Mr.  Coles'  first  offering  to  the 
club,  and  as  he  explained  was  prior  to 
his  learning  that  he  should  not  pam. 
Dr.  Bowersox  presented  an  original  8 
mm.  black  and  white  film  backed  up  by 
sound  entitled  "In  the  Beginning,"  and 
based  on  the  book  of  Genesis.  It  was 
well  put  together,  and  extremely  well 
received. 

The  local  representatives  of  Bell  and 
Howell  put  on  a  complete  display  of  8 
mm.  and  16  mm.  projection  equipment 
and  cameras,  and  the  members  were 
delighted  with  the  opportunity  to  ex- 
amine individually  the  various  pieces  of 
equipment.  The  complete  technical  staff 
was  in  attendance  to  explain  any  item 
desired.  Their  sound  equipment  was 
demonstrated  with  both  news  reel  and 
entertainment  films. 

For  our  April  meeting  we  have  been 
able  to  secure  as  our  principal  speaker, 
Hamilton  Jones  of  Buffalo,  whose  film 
"Western  Holiday"  has  received  wide 
acclaim.  The  film  also  will  be  shown 
at  that  meeting. 

The  second  annual  banquet  of  the 
club,  held  at  McAlister's  February  24, 
was  attended  by  185  members  and 
friends.  It  was  a  success  from  all  angles. 
Some  of  the  finest  films  produced  by 
members  were  put  on  the  screen  for  the 
entertainment  of  the  members.  Among 
these  were  A.  L.  0.  Rasch's  "Idle  Days," 
with  sound,  and  Bugbee  and  Crowthers' 
"Guatemala  Holiday,"  in  color  and 
sound.  B.  N.  LEVENE, 

Chairman  Publications  Committee. 


La  Casa  Moviemakers, 
Alhambra 

Unusual  interest  was  shown  at  the 
March  meeting  of  La  Casa  Moviemakers 
of  Alhambra,  Calif.,  as  the  uncut  film 
contest  awards  were  given  after  a  show- 
ing of  the  films  submitted.  Fourteen 
members  entered  their  best  efforts  and 


the  field  was  evenly  divided  between  the 
16mm.  and  the  8mm. 

The  keen  interest  in  home  scenes  of 
Baby  and  Junior  clearly  indicated  that 
this  is  the  real  field  for  the  amateur. 

The  awards  given  are  as  follows: 
"Mother's  Little  Helper,"  by  T.  H.  Her- 
zog,  first;  "Baby's  Birthday,"  by  F.  J. 
Gaylord,  second;  "The  Day  at  the  Zoo," 
by  R.  Neiger,  third. 

Honorary  award  was  given  to  R.  A. 
Battles  for  his  scenic  color  film,  "The 
Spell  of  the  Desert."  Unusual  lighting 
effects  and  brilliancy  were  shown  in  the 
filming  of  the  desert  and  canyons  in  the 
vicinity  of  Palm  Springs. 

Last  year's  prize  winners,  "Little 
Sherlock"  and  "Pinch  Hitter,"  also  were 
run.  Over  a  hundred  members  and  guests 
voted  the  evening  a  big  success. 

February  21  an  enthusiastic  meeting 
was  held  by  La  Casa  Moviemakers  of 
Alhambra,  Calif.  The  feature  was  a 
showing  of  "Around  the  World"  film  by 
Tracy  0.  Hall,  A.  C.  L.  One  hundred 
and  fifteen  members  and  guests  en- 
joyed the  travelogue.  A  discussion  of 
sound  also  was  held. 

Unusual  interest  centered  in  the 
meeting  held  March  21.  On  this  oc- 
casion the  Uncut  Film  Contest  closed. 
Many  amateurs  entered  their  best.  It 
was  expected  color  would  cut  a  big 
figure  in  this  event  as  now  the  southwest 
is  at  its  best  in  its  showing  of  spring 
wild  flowers.  Some  fine  prizes  have 
been  offered  by  amateur  movie  firms. 
R.  A."  BATTLES,  Publicity. 


Cinema  Club  of  San  Francisco 

At  the  recent  meeting  of  the  Program 
Committee  several  good  ideas  for  club 
activities  for  our  members  were  out- 
lined, among  these  the  making  of  a  club 
picture,  to  be  in  the  nature  of  a  semi- 
news  reel,  covering  San  Francisco,  its 
points  of  interest,  transportation,  high 
lights,  play  spots,  etc. 

The  plan  is  to  divide  the  club  into 
groups  of  two  and  assign  them  to  make 
a  certain  footage  of  a  subject  to  be  des- 
ignated later,  such  as  the  bridges,  the 
zoo,  etc.  Bill  Palmer  will  be  editor-in- 
chief  and  will  make  the  assignments 
and  outline  in  detail  the  part  each  will 
play  in  this  picture. 

At  the  meeting  March  29,  a  pre-meet- 
ing  will  be  held  at  7  o'clock  for  those 
members  who  care  to  bring  their  per- 
sonal movies  for  constructive  criticism. 
This  is  a  new  idea,  to  get  our  bashful 
members  to  show  their  films  at  a  pre- 
view and  later  at  our  regular  meeting. 

Our  program  this  month  will  consist 
of  a  very  interesting  talk  by  Joe  Rucker 
of  Paramount  Sound  News.  Mr.  Rucker 
returned  recently  from  China  and  was 
with  Byrd  in  the  Antarctic. 

It  is  hoped  also  to  have  several  films 
covering  the  Panay  bombing  and  war  in 
China  so  you  may  know  just  what  took 
place  over  there. 

E.  G.  PETHERICK,  President. 

March  22. 


European  Camera  Eumig 

Enters  American  Market 

((Joritinitcd  from  I'a(/e  Ifiii) 

frame  of  any  scene.    The  little  motor 
appeared  to  hold  its  speed  well. 

The  motor  itself  is  an  excellent  piece 
of  mechanism.  Housed  in  an  inclosed 
sub-housing  measuring  Vh  by  1  M;  by  2% 
inches,  it  has  a  balanced  three-coil  arm- 
ature and  is  shunt-wound.  It  is  fitted 
with  a  satisfactory  centrifugal  governor. 
Semi-permanently  sealed  in  its  housing, 
it  should  require  no  more  attention  than 
the  conventional  clockwork  camera 
motors. 

The  finder  of  the  Eumig  C4  is  also  a 
practical  feature.  It  is  exactly  level 
with  the  lens,  and  displaced  to  the  right 
only  1.3/16  inch,  centet-to-center.  This 
should  make  the  correction  for  parallax 
in  close  shots  and  titles  extremely  easy. 

In  addition,  the  finder  lens  is  engraved 
with  a  cross  in  its  center,  a  refinement 
which  should  be  of  considerable  value 
in  leveling  the  camera,  in  calculating 
parallax  and  in  following  moving  action. 

Using  this  electrically  driven  camera 
can  be  most  interesting  to  individuals 
who  have  had  reason  to  regret  the 
limited  spring  capacity  of  conventional 
apparatus.  Of  course,  due  to  this  elec- 
tric drive  few  scenes  could  be  too  long 
to  film  in  one  unbroken  "take,"  since  it 
is  perfectly  possible  to  expose  the  full 
25  feet  of  a  roll  consecutively. 

Actually  having  this  capacity  at  one's 
command  is  a  unique  experience,  and 
one  which  can  have  considerable  prac- 
tical value  for  some  filmers.  There  is 
also  an  obvious  advantage  in  having  a 
camera  always  mechanically  ready  for 
action.  The  safety-catch,  however,  offers 
a  few  initial  surprises  to  one  not  accus- 
tomed to  such  a  safeguard. 

The  possibilities  of  remote  control  op- 
eration of  this  electrically  driven  camera 
also  promise  much  for  some  classes  of 
camerawork. 

In  all,  the  Eumig  C4  appears  to  point 
the  way  to  many  worthwhile  develop- 
ments in  the  design  of  amateur  cine- 
machinery.  It  should  become  quite  pop- 
ular with  American  amateutdom,  as  is 
indicated  by  the  rapidity  with  which  the 
models  initially  stocked  by  the  enter- 
prising dealer  (Winters,  Inc.),  who  in- 
troduced them  to  Pacific  Coast  cine 
circles,  found  their  way  from  dealer  to 
consumer.  Most  welcome  is  the  report 
that  a  prominent  American  camera  man- 
ufacturer has  obtained  manufacturing 
rights  to  this  camera  and  is  planning 
to  manufacture  it  in  America.  It  pre- 
sages a  worthwhile  addition  to  the  grow- 
ing family  of  the  eight.  W.  S. 


Pinholes  and  similar  technical  defects 
in  negatives  can  be  spotted  out  swiftly 
and  accurately  by  users  of  a  new  Kodak 
Negative  Spotting  Panel  just  announced 
from  Rochester  by  the  Eastman  Kodak 
Company. 

The  device,  useful  to  camera  amateurs 
who  do  their  own  developing,  printing 
and  enlarging,  is  designed  for  use  alone 
or  with  the  Kodak  enlarging  focus  finder 
just  introduced. 


Apiil.  193X 


American  Cinematographer  169 


Alost  Successful  Celluloid  Story 
Is  Founded  on  the  Old  Backyard 


By  STANLEY  and  MARYJANE  BEAN 


SOMETIME  ago  we  remember  of 
reading  the  biography  of  a  famous 
author  whose  success  was  attributed 
to  his  writing  of  people  he  knew,  of  the 
countryside  where  he  spent  most  of  his 
life,  and  above  all  telling  the  simple 
stories  of  these,  his  people. 

We  believe  the  success  of  your  story 
and  ours,  told  on  celluloid,  is  best  when 
founded  on  familiar  soil — in  the  old 
backyard. 

Principally,  the  amateur  field  offers 
most  interest  to  the  narrative  and  travel 
type  film.  The  settings  are  permanent 
and  the  ideas,  simple.  Occasionally 
"Copy  Cats,"  like  ourselves,  become  en- 
thused with  the  idea  of  producing  sce- 
nario-films, "just  like  they  do  in  Holly- 
wood." 

The  Mister  of  our  family  made  his 
first  flicker  in  1925,  a  boss  opera.  The 
horse  was  ?,  success!  Travel  films  filled 
the  gap  till  1930  when  a  historical-ro- 
mance theme  was  begun.  Our  Merrimack 
Valley,  the  most  beautiful  in  the  world, 
was  the  setting. 

The  finished  production  resulted  in 
gratifying  approval  on  the  part  of  the 
Tercentenary  Celebration  tourists  who 
viewed  it  as  well  as  local  school  and 
college  groups. 

Preserving  Illusion 

The  leading  woman  married  the  pro- 
ducer and  since  then  we  have  been  film- 
ing a  feature-length  story  each  year. 
We  have  made  a  few  industrial  subjects 
in  between  times  which  have  given  us 
much  experience  with  interior  lighting. 

Since  1932  color  has  intrigued  us  and 


this  year  we  feel  competent  to  use  it 
for  a  feature  story,  after  solving  some 
of  the  problems  of  complexion  tints  and 
true-blue  skies.  We  want  color  to  be 
natural — adding  to  the  story  rather  than 
overwhelming  it  by  shrieking  brilliance. 

Our  joy  in  scenario  film  making  is  in 
creating  our  own  story  and  bringing  it 
to  life  on  the  screen.  Our  story  must 
tell  itself  chiefly  in  pantomine  with  sim- 
ple explanatory  titles  to  provide  the  con- 
tinuity. 

The  players  try  to  interpret  the  scenes 
in  their  own  natural  way,  stressing  ex- 
pression rather  than  conversation,  and 
really  enjoy  performing  as  we  enjoy 
shooting. 

For  1937,  we  produced  one  short  film, 
a  modern  legend  of  how  color  and 
rhythm  were  created.  Two  amateurs 
whose  black  and  white  films  seem  cold 
and  lifeless  seek  the  aid  of  the  dwarf, 
Jack  Frost's  Rival,  in  a  far  oflF  mountain 
cave.  This  person  possesses  the  power 
to  put  life  into  stone  and  color  into  ob- 
jects of  black  and  white. 

Scenario  for  Guide 

An  accompanying  feature  length  film, 
"Symphony  in  Hues,"  done  entirely  in 
Kodachrome,  compares  Man's  handiwork 
with  Nature's  masterpieces;  from  the 
crescent  moon  to  priceless  jewels — a  diri- 
gible to  newly  hatched  marshhawks 
taken  in  their  nest,  80  feet  above  the 
ground. 

We  do  not  adhere  to  our  scenarios  to 
the  letter  because  on  location  new  twists 
suggest  themselves  which  may  alter  the 
earlier,   mentally   pictured   scene.  The 


...  center  are  Stanley  ami  M(iri/j(ine 
Bean,  Mr.  and  Mrs.  Citiematof/rapliers 
of  Arneshuri/  in  NorthcaKterii  /l/a.f.sa- 
cluisetts,  jvhose  Kimm.  film~s  now  total 
fourteen  produced  across  tliirteoi 
years.  Players  Thelma  Wortlieii  and 
Roy  Brown  are  shown. 


scenario  is  an  outline  for  a  central  theme, 
our  forerunner  of  assured  continuity. 

We  present  our  new  films  each  year 
as  benefits  before  civic,  church,  and 
school  groups.  Each  program  aids  a 
worthy  cause  and  also  helps  us  enough 
to  pay  auditorium  rentals.  The  extra 
goes  toward  improvement  on  our  next 
year's  reels. 

None  of  our  cinema  attempts  are 
"super" — none  of  our  actors  are  yet 
eligible  to  Academy  awards.  The  bene- 
fits of  relaxation  from  our  daily  tasks 
are  a  reward  of  inestimable  value. 

Seriously  we  take  the  Hollywood  cine- 
mas in  our  theater.  And  seriously  we 
make  our  own. 

New  York's  Camera  Mart 
Moves  to  Larger  Quarters 

The  Camera-Mart.  Inc.  has  moved  to 
larger  quarters,  at  70  West  45th  Street, 
New  York.  A  special  feature  which  the 
store  is  sponsoring  is  an  exhibit  of  still 
and  movie  cameras  dating  back  to  the 
earlier  times  of  picturemaking.  The  col- 
lection is  the  property  of  Irving  Brown- 
ing, illustrative  and  motion  picture  pho- 
tographer. 

These  rare  cameras  will  be  on  exhibi- 
tion for  an  extended  period.  There  will 
be  illustrations,  early  experiments  of 
pictures  in  motion,  and  up  to  present 
standards  of  8,  16,  35mm.  negatives  and 
prints  by  Technicolor  and  early  sound 
track. 

Irving  Browning  will  act  in  advisory 
capacity  for  Camera-Mart. 


170     American  Cinematographer    •    April,  1938 


Three  Cinematographer  Awards 
on  International  Show  Program 

Columbia  University's  Division  of  Film  Study  Will 
Screen  April  6  Eig-ht  Amateur  Subjects  from  as 
Many  Countries — Kinney  Moore,  S.A.C., 
Only  American  Entrant  to  Get  Nod. 


EIGHT  different  countries  will  be 
represented  in  the  International 
Amateur  Movie  Show  to  be  given 
at  Columbia  University  Wednesday 
evening,  April  (5,  under  the  auspices  of 
the  Division  of  Film  Study  of  the  uni- 
versity, it  is  announced  at  Columbia. 

They  are  Japan,  Australia,  Germany, 
Canada,  Scotland,  England,  Czechoslo- 
vakia, and  the  United  States. 

In  the  eight  pictures  selected  are  three 
which  won  awards  in  the  recent  contest 
conducted  by  The  American  Cinema- 
tographer— "To  the  Ships  of  Sydney," 
"Mount  Zao"  and  "Prize  Winner." 

A  prize-winning  film  from  Poland  has 
been  sent,  according  to  a  letter  received 
from  an  amateur  society  in  Warsaw,  but 
has  not  yet  been  received.  Pictures  were 
also  promised  from  Austria  and  from 
Spain,  but  events  in  those  two  countries 
made  it  necessary  for  the  amateurs  in- 
terested to  write  that  they  were  com- 
pelled to  withdraw. 

The  pictures  to  be  exhibited  Wednes- 
day are  being  shown  as  examples  of 
the  interesting  and  excellent  work  that 
is  being  done  in  the  amateur  field,  ac- 
cording to  Film  Study's  announcement. 
Many  of  them  are  prize  and  award  win- 
ning pictures.  All  are  of  great  interest, 
and  the  level  of  technical  achievement 
is  surprisingly  high.  Several  of  them 
are  of  special  significance  just  now:  the 
film  from  Czechoslovakia,  for  example,  is 
pointedly  anti-war  in  its  theme. 

"While  the  quality  of  these  amateur 
films  is  uniformly  high,"  the  announce- 
ment concludes,  "their  subject  matter  is 
so  diversified  as  to  insure  an  interest- 
ing evening  for  the  spectator,  whether 
he  is  an  amateur  motion  picture  en- 
thusiast or  not." 

The  program  is  as  follows: 
TO  THE  SHIPS  OF  SYDNEY 

James  A.  Sherlock,  S.A.C.,  and  an 
officer  in  the  Australian  Amateur  Cine 
Society.  This  film,  on  Kodachrome,  was 
some  two  years  in  the  making.  In  the 
1937  contest  sponsored  by  The  Ameri- 
can Cinematographer  it  won  the  grand 
prize  and  also  a  class  prize. 
MOUNT  ZAO 

Khoji  Tsukamoto,  of  Tokyo,  and  offi- 
cer of  the  Sakura  Kogata  Eiga  Kyokaj 
("The  Cherry  Amateur  Movie  Society"). 
This  film  won  first  prize  at  the  Barce- 
lona exposition  in  1935,  first  prize  in  the 


international  contest  sponsored  by  the 
British  Institute  of  Cinematography  in 
1936,  a  prize  for  photography  in  the 
American  Cinematographer's  1937  con- 
test and  the  distinction  of  being  selected 
as  one  of  the  ten  best  by  the  Amateur 
Cinema  League. 

FOURTH  IN  HAND  (a  fantasy  of  the 
cai-d  table) 
The  Meteor  Film  Producing  Society, 
Glasgow,  Scotland.  Shared  first  place  at 
the  fourth  Scottish  Amateur  Film  Fes- 
tival last  year  and  was  granted  honor- 
able mention  in  a  contest  sponsored  by 
the  Amateur  Cine  World,  London. 

L'HISTOIRE  D'UN  SOLDAT 

Cenek  Zabradnicek  of  Prague,  Czecho- 
slovakia. Of  this  film  Dr.  Hugo 
Fleischer  of  Vienna  writes:  "Zabrad- 
nicek is  an  author  whose  films  are  al- 
ways original;  and  'The  History  of  a 
Soldier'  is,  in  my  opinion,  quite  the 
strongest  amateur  performance  of  these 
last  years."  Dr.  Fleischer  is  the  maker 
of  the  film  which  won  the  grand  prize 
at  the  Paris  International  last  summer. 

GLOIRE  A  L'EAU 

Abbe  Albert  Tessier,  Trois-Rivieres, 
Quebec.  The  Abbe  Tessier,  who  is  a  lec- 
turer at  Laval  University,  Quebec,  made 
this  film  for  use  in  connection  with  his 
own  educational  work.  The  film  should 
be  viewed  with  this  in  mind. 


THALHAMMER 


Wt.  2"4  lbs. 
Closed  21" 
Extended  31 


"At  Your  Dealer's" 
THE  THALHAMMER  CO. 

121    Fremont  Ave.,   Los  Angeles 


DRIFTWOOD 

Ace  Movies,  an  amateur  film  society 
in  London.    Acquired  through  the  Brit- 
ish Institute  of  Cinematographers. 
BOMMERLI 

Richard  Groschopp  of  Dresden,  Ger- 
many. This  film  has  won  first  prizes  in 
Budapest,  Tokyo,  Vienna  and  Berlin.  Its 
maker,  whose  earlier  prize  winner  was 
"Kleine  Koenigs  Tragodie,"  has  lost  his 
amatuer  standing  since  this  film  was 
made.  Formerly  he  was  a  confectioner 
in  Dresden  whose  leisure  time  hobby 
was  movie  making.  Now  he  has  ac- 
cepted a  position  with  a  large  commer- 
cial company. 
PRIZE  WINNER 

J.  Kinney  Moore,  of  Kansas  City. 
This  film  was  a  class  winner  in  the  1937 
S.A.C.  show.  It  also  won  a  $500  prize 
in  the  Pete  Smith-Liberty  Magazine  con- 
test last  year. 

Let  Charlie  Say  It 

Charlie  McCarthy,  that  imp  of  Edgar 
Bergen,  A.S.C.,  lost  no  time  in  putting 
the  set  of  "Letter  of  Introduction"  at 
Universal  studios  into  a  roar  of  laughter. 

During  rehearsals  for  the  first  scene 
of  the  picture,  between  Bergen  and  Mc- 
Carthy, John  M.  Stahl,  the  director,  was 
having  some  trouble  getting  just  the  ex- 
act timing  he  wished.  He  made  a  sug- 
gestion to  Bergen. 

"Go  ahead,  play  it  in  your  own  way." 

And  McCarthy  cracked  back,  "Why 
the  hell  didn't  you  tell  us  that  in  the 
first  place?" 

The  laugh  that  followed  broke  the 
tension  of  the  first  day's  shooting  and  the 
scene  soon  was  "in  the  box." 


Mogull  Issues  Catalogue 

Mogull  Brothers  of  1944  Boston  Road, 
New  York,  have  issued  a  72-page  cata- 
logue devoted  mainly  to  a  listing  of 
16mm.  silent  motion  picture  films.  The 
divisions  are  of  Dramas,  Comedies,  Car- 
toons, Sports,  Travel,  Religion,  Educa- 
tion and  Miscellaneous. 

Showing  the  range  and  the  length  of 
the  subjects  in  the  features  department 
alone  there  are  165  films  ranging  in  size 
200  titles  in  the  comedies  and  nearly  a 
hundred  in  the  animated  cartoons, 
from  three  to  eight  reels  each.  There  are 


Bay  Empire  Near  Limit 

The  Bay  Empire  8  m.m.  Club  of  Oak- 
land had  a  hundred  percent  turnout  in 
March.  There  is  room  for  five  more 
members,  information  regarding  which 
may  be  obtained  from  Glenn  Burks,  4014 
Lyon  Avenue,  Oakland,  or  phone  AN. 
2541. 


April,  1938    •    American  Cinematographer  171 


Legibility  and  Pictorial  Value 
Lead  Desirable  Title  Qualities 

By  WM.  STULL,  A.S.C. 


ADMITTING  that  the  first  requisite 
of  a  motion  picture  title  is  legibil- 
ity, surely  the  second  is  pictorial 
effectiveness.  No  other  single  feature  so 
surely  differentiates  the  films  of  the 
advanced  filmer  from  those  of  the  novice 
as  do  well-executed  decorative  titles. 

There  are  an  infinite  number  of  ways 
in  which  titles  can  be  "dressed  up."  Some 
of  them  are  simple,  and  some  can  be  as 
intricate  as  one  wishes  to  make  them. 
Some  require  a  knowledge  of  hand  letter- 
ing or  sketching;  others  a  knowledge  of 
trick  camerawork;  still  others  can  pro- 
duce the  desired  trick  effects  by  relatively 
simple  methods.  But  all  of  them,  properly 
used,  add  a  much  desired  touch  of  pro- 
fessional finish  to  the  home  film. 

One  of  the  most  effective  and  at  the 
same  time  one  of  the  simplest  ways  of 
dressing  up  titles  is  to  employ  patterned 
backgrounds.  This  can  often  give  the 
effect  of  double-exposure  trickery,  yet  it 
is  a  simple  "one-take"  proposition. 

All  that  is  necessary  is  to  letter  the 
wording  of  the  title  over  any  desired 
background,  which  may  be  either  a  pic- 
ture, a  drawn  design  or  a  decorative 
pattern.  A  very  useful  method  tying  a 
main  title,  or  a  title  introducing  an  im- 
portant new  sequence  into  the  pictured 
action,  is  to  use  as  a  background  a  still 
enlargement  of  the  opening  frame  of  the 
scene  to  follow. 

Effect  of  Disappearance 

The  title  wording  can  be  lettered 
directly  on  the  print,  and  if  the  card  is 
properly  aligned  in  the  titler  and  the 
joining  splice  is  smooth  the  effect  on  the 
screen  is  of  the  wording  suddenly  appear- 
ing as  the  pictured  background  come.s 
to  life. 

If,  of  course,  you  are  one  of  the  for- 
tunate filmers  owning  a  camera  equipped 
to  wind  back,  you  can  amplify  this  idea 
to  give  the  effect  of  a  double-expose  1 
title  without  involving  the  problems  of 
double  exposure. 

Simply  have  two  really  identical  prints 
made  of  your  background  photo.  Letter 
your  wording  on  one  and  leave  the  othev 
blank.  When  you  have  finished  your  title 
shot,  fade  out.  Then  wind  back,  as  in  a 
lap  dissolve,  and  substitute  the  unlettered 
photo,  taking  care  to  align  it  accurately. 
Now  fade  in. 

If  you  make  your  cut  to  the  actual 
scene  immediately  after  the  fade-in  you 
will  get  the  effect  of  the  lettering  fading 
out  just  before  the  scene  springs  into 
action — apparently  a  double  exposed  title 
made  at  one  take. 

In  this,  as  in  many  other  one-take 
methods  of  using  lettering  over  decora- 
tive backgrounds,  it  is  not  always  con- 


venient to  letter  directly  on  a  background 
which  one  may  want  to  use  again.  If 
this  problem  arises  it  is  quite  simple  to 
take  a  leaf  from  the  animated  cartoor- 
ist's  book. 

Simply  letter  on  a  sheet  of  celluloid, 
and  when  you  photograph  your  titlo 
place  the  celluloid  directly  over  the  back- 
ground card.  In  doing  this  it  is  a  good 
idea  either  to  use  fairly  heavy  celluloid 
or  to  photograph  through  a  pane  of  glass 
which  will  hold  the  "cell"  flat,  preventing 
wrinkles. 

Not  So  Difficult 

Double  exposure  titles  are  not  nearly 
as  difficult  as  they  seem.  They  are  espe- 
cially simple  in  8mm.  work,  where  the 
film  is  always  run  through  the  camera 
twice,  emerging  wound  on  its  original 
reel,  with  the  starting  end  out.  But 
double  exposures  in  16mm.  are  by  no 
means  difficult. 

The  first  thing  in  any  kind  of  double 
exposure  work  is  a  marked  starting- 
point.  If  you  have  confidence  in  your 
camera's  footage  meter  you  can  simply 
mark  a  starting  point  at  the  start  of  the 
roll's  leader,  thereafter  keeping  cloj;.? 
check  of  the  footage  run  off  for  leader. 

If,  on  the  other  hand,  you  do  not  trust 
the  footage  counter  for  closely  accurate 
measurements,  run  off  your  leader  and 


then  remove  the  lens  and  mark  a  frame 
or  two  through  the  aperture.  For  the 
second  exposure,  simply  run  off  your 
leader,  take  off  the  lens  and  watch  for 
the  marked  frame. 

This  indicates  that  it  is  a  good  policy 
to  shoot  double  exposures  at  the  begin- 
ning of  a  roll.  Obviously,  it  simplifies  the 
matter  of  matching  the  starting  points 
of  the  two  "takes." 

Which  of  the  two  exposures — back- 
ground or  lettering — to  make  first  is 
governed  largely  by  convenience.  The 
writer  prefers  to  make  the  background 
exposure  first  but  that  is  purely  personal 
preference. 

In  any  event  make  the  first  exposure. 
Then  you  have  the  option  either  of  finish- 
ing the  roll  in  the  ordinary  manner  or 
running  it  immediately  through  the 
camera  with  the  lens  capped  or  (in  many 
8mm.  and  other  cameras)  with  the  dia- 
phragm completely  closed,  so  no  light 
leaches  the  film. 

Must  Be  Rewound 

With  an  8mm.  camera,  running  the 
film  through  the  camera  twice  in  the 
usual  way  (either  photographing  or  with 
the  lens  closed)  brings  you  back  to  the 
starting  end  of  the  film.  With  a  16mm. 
camera  the  film  must  in  some  way  be 
rewound.  This  can  be  accomplished  in  a 


Title  like  this  can  he  miule  either  by  straight  double  exposure  or  by  lettering  on  a> 

still  photograph. 


172     American  Cinkmatocraphkr    •    April,  1938 


darkroom  or  chanj^ing  bag,  but  it  also 
can  be  accomplished  in  the  camera  itself. 

To  do  this  it  is  necessary  to  use  two 
Agfa  spools,  which,  unlike  Eastman 
spools,  have  square  hubs  on  both  sides. 
Regardless  of  what  kind  of  film  you  use, 
load  it  for  the  fiist  exposure  to  take  up 
on  to  an  Agfa  spool.  Then  when  the  roll 
is  run  through,  put  the  film  again  on 
the  top  spindle,  and  thread  it  through 
the  camera,  again  taking  up  on  an  Agfa 
spool. 

For  this  rewinding  run  have  the  lens 
capped,  so  no  exposure  is  made.  Now  you 
have  the  film  rewound,  and  thanks  to  the 
hub  construction  of  the  Agfa  spool  you 
can  again  run  the  film  through — for  tho 
third  time — quite  as  though  it  never  had 
been  through  a  cameia  before. 

At  this  point  it  is  simply  a  matter  of 
reaching  your  marked  starting  point  and 
making  your  second  exposure. 

Balancing  the  two  exposures  is  im- 
portant, especially  in  color  filming.  Thi; 
best  way  to  do  is  to  cut  both  exposures 
in  half;  the  aggregate  naturally  will  be 
a  full  normal  exposure. 

A  very  simple  way  to  do  this,  if  you 
use  a  meter,  is  to  set  the  film  speed  at 
double  the  normal  value — IG  instead  of 
8,  for  instance,  if  you  are  using  Koda- 
chrome — and  proceed  normally  from  this 
basis.  Simpler  yet  is  to  remember  to  cut 
the  normal  exposure  one  full  stop. 
Background  of  Wide  Choice 

In  making  such  double-exposed  titles 
your  background  can  be  anything  de- 
sired. It  can  be  an  actual,  moving  scene, 
a  photograph,  a  drawing  or  a  pattern. 
In  the  1937  American  Cinematographer 
International  Amateur  Movie  Contest, 
the  double  exposed  title  backgrounds  in- 
cluded patterns  made  by  using  marbel- 
ized  linoleum,  wallpaper  and  tapestry. 

The  lettering  should,  of  course,  be 
white  on  a  black  card.  In  this  connection 
it  should  be  pointed  out  that  the  com- 
mercial title  boards  which  consist  of 
felt-covered  ridges  upon  which  are  placed 
cut-out  white  celluloid  letters  are  not 
very  satisfactory  for  double-exposed 
titles,  especially  in  color.  The  ridges  show 
up  too  prominently,  giving  an  effect 
something  like  the  lines  on  the  old  Koda- 
color  film. 

The  newest  method  making  this  type 
of  title — with  either  moving  or  still  back- 
grounds— is  background  projection.  With- 
in the  last  few  weeks  the  manufacturer 
of  the  background  projection  screens 
used  in  the  process  departments  of  mo.?t 
major  studios  has  introduced  a  small 
screen  especially  foi  amateur  use. 

The  desired  background  may  be  pro- 
jected on  this  screen  from  behind,  while 
the  title  is  lettered  on  a  sheet  of  gla.ss 
or  celluloid  placed  sufficiently  far  in  front 
of  the  screen  so  that  the  front  lighting 
can  be  shielded  from  the  screen. 

Mechanical  Interlock 

It  is  not  a  particularly  easy  task  to 
interlock  the  average  amateur  cameia 
and  projector  for  fully  synchronous  back- 
ground projection,  though  with  some  out- 
fits like  the  Kastman  Model  A  and  Spe- 
cials it  can  be  done  by  using  electric 


motors  to  drive  the  camera. 

In  some  other  cases  a  purely  mechan- 
ical interlock  is  possible.  Using  a  pro- 
jector which,  like  the  Bell  &  Howell  H, 
has  a  multi-bladed  shutter  revolving 
many  times  for  each  frame,  it  is  also 
possible  to  get  satisfactory  results  simply 
by  running  the  projector  fastei  than 
normal,  and  the  camera  slower  than 
normal,  so  that  each  frame  photographed 
records  two  or  more  open  periods  of  the 
projector's  shutter. 

But  even  without  the  use  of  such 
normal  synchronized  projection  methods 
the  average  filmer  has  two  excellent 
possibilities.  First  is  the  use  of  a  still 
background,  projected  by  any  of  the 
several  miniature  film-slide  projectors 
and  using  either  black-and-white  or 
Kodachrome  transparencies  made  with  a 
miniature  camera. 

The  second  is  stop  motion.  This  is  a 
rather  tedious  process,  but  it  works.  You 
simply  project  the  16mm.  or  8mm.  back- 
ground one  frame  at  a  time,  like  so  many 
stills.  Since  practically  all  home  movie 
projectors  are  fitted  with  a  knob  for 
moving  the  film  slowly  by  hand,  this  is 
simple  enough. 

With  such  cameras  as  the  Simplex,  the 
newer  Filmo  eights,  and  of  course  the 
Cine-Kodak  special,  all  of  which  have 
single-frame  releases,  the  camera  end  of 
this  stop-motion  work  is  also  simple.  But 
even  with  ordinary  cameras,  it  is  pos- 
sible to  expose  only  one  or  two  frames 
at  a  time  by  using  a  quick,  light  touch 
on  the  release. 

There  was  a  surprising  amount  of  suc- 
cessful stop-motion  work  in  the  prize 
winning  film  "Solar  Pelexus";  and  the 
Stewart-Warner  16mm.  camera  with 
which  it  was  made  does  not  have  a 
single-frame  release.  The  animation  was 
done  simply  by  this  light  touch  on  the 
trigger. 

Trickery  by  Animation 

The  title  trickery  that  can  be  done  by 
animation  is  really  a  chapter  in  itself. 
Individual  letters  can  dance  around  to 
form  themselves  into  words;  inanimate 
objects,  appropriate  to  the  picture,  can 
form  themselves  into  letters.  In  one  of 
the  more  notable  contest  films  of  a  few 
years  ago,  detailing  the  manufacture  of 
locks,  a  handful  of  screws  and  keys  were 
animated  to  form  the  title  of  the  film. 

Filming  such  titles  in  16mm.,  the 
familial  old  trick  of  getting  reversed 
motion  by  turning  the  camera  upside 
down  and  then  inverting  the  film  in  the 
cutting,  is  extremely  useful.  Naturally  it 
is  much  easier  to  form  the  objects  into 
perfect  words  and  letters,  and  then  let 
them  disintegrate  haphazardly  than  to 
attempt  to  marshal  them  into  letters  by 
animation. 

Help  or  Hamper 

For  this  type  of  work  it  is  best  to  fix 
your  titler  so  that  it  can  be  used  in  a 
vertical  position,  with  the  title  boaid  flat 
and  level  below  the  camera.  In  this  case, 
too,  it  is  easy  to  get  around  the  difficulty 
of  holding  the  camera  upside  down,  for 
the  same  result  is  had  if  the  letters  are 
upside  down  in  relation  to  the  camera. 

It  need  scarcely  be  pointed  out  that 


this  type  of  reverse  motion  filming  can- 
not be  done  in  8mm. 

There  is,  too,  always  the  question  of 
when  these  "dressed  up"  titles  are  suit- 
able and  when  they  will  hamper  the  pic- 
ture. In  general  they  are  best  used  only 
for  opening  titles  and  subtitles  introduc- 
ing a  new  sequence.  P'or  ordinary  descrip- 
tive titles,  or  for  spoken  titles,  they 
would  be  distinctly  out  of  place,  as  they 
tend  to  distract  attention  from  the  action. 

The  lettering  of  these  titles,  or  any 
titles,  for  that  matter,  is  extremely  im- 
portant. The  lettering  must  be  clearly 
legible,  and  neatly  executed.  It  is  an  ad- 
vantage always  to  use  letters  as  large  as 
can  conveniently  be  used  on  the  size  of 
card  employed;  similarly,  the  letters 
should  be  of  a  simple  style  which  can 
be  read  quickly. 

Aside  from  the  commercial  outfits  us- 
ing cut-out  or  stamped  letters,  the 
amateur  title-maker  has  the  choice  of 
three  methods  of  getting  his  lettering — 
hand-drawn  letters,  typewritten  letters 
and  printed  letters. 

Hand  lettering  is  to  be  recommended 
only  if  one  can  do  it  skillfully,  for 
nothing  can  look  more  amateurish  than 
i\  bad  job  of  hand  lettering.  A  recent 
development  in  this  field,  the  Wrico 
lettering  guide,  should  prove  most  help- 
ful in  this  type  of  titling. 

The  guide  consists  of  a  heavy  cellu- 
loid ruler  with  stencil  openings  through 
which  the  letters  may  be  traced.  Tho.se 
who  have  used  these  guides  state  that 
excellent  lettering  can  be  done  with  very 
little  practice.  A  good  variety  of  types 
and  sizes  of  letter  is  available. 

Typewiitten  titles  are  generally  suit- 
able only  for  temporary  use,  since 
nothing  can  disguise  the  fact  that  they 
are  typewritten.  Some  of  the  newer  type- 
writer type  faces  help  to  take  the  curse 
from  typed  titles,  however. 

The  best  and  most  professional  looking 
titles  arc  those  using  printed  letters. 
Any  good  printing  shop  will  be  able  to 
supply  a  good  variety  of  type  faces,  and 
to  print  them  in  white  or  silver  ink  cn 
black  paper. 

Printed  Titles  Best 

With  the  exception  of  hand  lettering 
done  by  a  commercial  card-writer,  these 
printed  titles  are  probably  the  most  ex- 
pensive; even  so,  their  cost  is  by  no 
means  excessive  when  compared  to  the 
results  given. 

The  writer  recently  had  a  set  of  33 
title  cards  printed  for  a  three-reel  pro- 
duction at  a  cost  of  a  few  cents  over 
.$5.  When  one  can  have  all  his  titles 
printed  for  less  than  the  price  of  one 
roll  of  16mm.  film  the  economies  of 
hand  lettering  seem  small  indeed. 

Finally,  a  word  about  the  limitations 
of  coloring  in  Kodachrome  titles.  In  mak- 
ing black-and-white  titles  we  know  we 
want  the  maximum  possible  monochrome 
contrast  between  the  card  and  letters — 
clear  white  against  dead  black.  In  color, 
we  want  an  equal  degree  of  contrast; 
and  it  can  be  a  chromatic  contrast,  as 
well. 

Therefore  pick  color  combinations  of 


April,  1938    •    American  Cinematographer  173 


AMERICAN  CINEMATOGRAPHER 
HAND  BOOK  and  REFERENCE  GUIDE 

SECOND  EDITION 

Written  and  Compiled  by 

JACKSON  J.  ROSE,  A.  S.  C. 

We  Wish  You  to  Know  That,.. 

The  success  and  complete  sell-out  of  our  previous  Hand  Book  and  Refer- 
ence Guide  and  numerous  requests  for  additional  copies  have  prompted  us  in 
preparing  for  publication  the  Second  Edition  of  the  American  Cinematographer 
Hand  Book  and  Reference  Guide. 

This  Hand  Book  is  indorsed  and  recommended  by  the  leading  cinematog- 
rophers  of  Hollywood.  Full  and  complete  with  the  latest  information  for  all 
types  of  photography.  Professional  35  m.m.,  amateur  16  m.m.  and  8  m.m., 
miniature  cameras,  films,  filters,  lenses,  formulas,  calculators,  color  systems, 
projectors,  make-up,  timers,  film  speeds,  etc.;  it  is  just  jammed  full  of  the 
right  kind  of  information,  200  pages  of  it,  all  of  this  printed  on  the  very  best 
paper  with  a  fine  grain  flexible  cover.  Pocket  size — the  right  size  that  fits  into 
your  pocket. 

...  PRICE  $3.00  ... 

American  Society  of  Cinematographers 

1782  North  Orange  Drive  Hollywood.  California 


definitely  contrasting  colors  or,  best  of 
all,  use  white  letters  against  a  dark 
colored  card.  Never  try  to  use  lettering 
and  backgrounds  of  related  colors,  as 
there  will  be  insufficient  color  contrast 
to  give  a  satisfactory  title. 

In  this  connection,  too,  experience 
teaches  that  it  is  best — even  if  more 
costly — to    use    Kodachrome   titles  for 


THE  Ninth  Annual  Movie  Party, 
for  nine  years  conducted  by  Dun- 
can McD.  Little  and  this  year 
sponsored  by  Columbia  University  as  a 
part  of  the  activities  of  its  division  of 
film  study,  was  held  March  23  in  the 
McMillin  Theater,  Broadway  and  116th 
street.  New  York,  to  an  audience  of  500 
persons. 

Seven  subjects  were  shown  as  selected 
by  the  jury  announced  in  these  columns 
last  month.  Five  days  prior  a  preview 
of  the  same  program  had  been  held  in 
the  Salle  des  Artistes,  1  West  67th 
street,  which  was  attended  by  over  two 
hundred  of  the  followers  of  the  pre- 
vious parties.  The  program  selected  by 
the  jury  was  as  follows: 

"Eclipse  over  Peru,"  "Cinecoles,"  New 

York  City. 


Kodachrome  films,  as  the  difference  in 
the  thickness  of  monochrone  and  color 
films  is  sufficient  to  throw  one  or  the 
other  out  of  focus  when  projected. 

B"ut  in  any  event — title  your  films. 
Dress  them  up  with  "dressed  up"  titles. 
You'll  be  amazed  at  the  professional 
finish  such  titles  give  even  the  simplest 
picture! 


"Way  to  Victory"  (1  reel).  Photo 
Patrons  Club,  East  Side  High  School, 
Newark,  N.  J. 

"Porpoise  Oil,  Alexander  Leighton, 
M.D.,  Baltimore. 

"Voyageur's  Trail,"  Duncan  MacD. 
Little,"  New  York. 

The  Story  of  the  Kentucky  Derby, 
1937,  Lillian  McNulty,  Louisville. 

West  Texas  Panther  Hunt,  Tom  D. 
Park,  Tulsa,  Okla. 

"Mystery  in  the  Forest,"  Khoji  Tsu- 
kamoto,  Tokoyo,  Japan. 

"The  films  this  year  were  even  bet- 
ter than  last,"  writes  Dan  Anderson  in 
The  New  York  Sun.  'Porpoise  Oil,'  by 
Dr.  Alexander  Leighton  of  Baltimore, 
showing,  in  color,  how  the  Mic-Mac  In- 
dians kill  porpoise  in  the  Bay  of  Fundy 


and  try  out  the  oil — it's  really  a  van- 
ished business  now — would  compare  fa- 
vorably with  many  a  commercial  edu- 
cational short. 

"  'Eclipse  Over  Pein,'  a  Cinecoles  pic- 
ture made  by  Charles  Coles  when  he 
went  with  the  Hayden  Planetarium  ex- 
pedition to  Peru  for  the  total  eclipse 
last  year,  is  a  gorgeous  bit  of  colored 
travelogue.  Mr.  Little's  own  'Voyag- 
eur's Trail'  rounded  out  the  color  sec- 
tion of  the  program  handsomely. 

"Dr.  Leighton's  film  was  particularly 
impressive  in  that  it  left  a  watcher  with 
the  idea  that  he  could  direct  a  porpoise 
hunt  and  the  extraction  of  the  oil;  no 
apparent  gap  remained  in  the  explana- 
tion of  the  process.  Omission  of  just  one 
such  essential  will  spoil  an  otherwise 
excellent  film,  and  it  often  happens,  but 
not  in  this  instance. 

"Three  of  the  four  remaining  black 
and  whites  were  documentary,  too.  'Mys- 
tery in  the  Forest'  came  from  Khoji 
Tsukamoto  in  Japan;  a  series  of  bird 
pictures  of  beauty  and  interest,  with 
shots  of  heron  chicks  emerging  from 
the  shell  outstanding.  'West  Texas  Pan- 
ther Hunt,'  by  Tom  D.  Park  of  Tulsa, 
Okla.,  caused  the  averting  of  more  than 
one  pair  of  feminine  eyes  as  the  dogs 
closed  in  on  the  big  cat,  which  cuffed 
them  back  and  might  have  won  free- 
dom except  for  the  man  behind  the 
gun  behind  the  dogs.  Lillian  McNulty 
gave  a  thorough  behind-the-scenes  view 
of  a  big  horse  race  in  'Kentucky  Derby, 
1937.'  " 


Good  Program  Shown  at  Littles ' 
IV dl  Attended  Ninth  Movie  Party 


174     American  Cinematographkr    •    April,  1938 


Left — Flashometer — The  first  precision  apparatus  for  recording  the  time  relation  of  camera  shutters  and  flash  lamps.  Right — 
General  Electric  Synchrograpli,  simple  and  inexpensive  device  for  checking  synchronization  of  ptMtoflash  lamp  arid  camera 

shutter.  Adapted  for  use  by  news  and  otiier  photographers. 


Farnham  and  Associates  Honored 

(Continued  from  Page  147) 


lenses  and  apertures  from  8  mm.  mo- 
tion picture  systems  to  giant  stereop- 
ticons.  Holders  reversible  for  greater 
flexibility  of  set-up,  and  serve  also  as 
screens. 

(3)  Micrometer  adjustment  in  all  di- 
rections for  source  and  mirror,  separate- 
ly or  as  a  unit. 

(4)  Integrating  sphere  hinged  for 
swinging  in  or  out  of  optical  train. 

(5)  Bench  adjustment  for  height  and 
angle  to  meet  any  screen  requirement. 

The  flashometer  is  the  first  precision 
apparatus  for  recording  the  time  rela- 
tion of  camera  shutters  and  flash  lamps 
with  the  advantage  of  direct  reading  and 
convenience.  It  was  subsequently  adopted 
by  Lamp  Development  Laboratory  and 
adapted  by  Farnham  for  factory. 

Important  in  design  and  control  of 
photoflash  lamps,  in  development  of  syn- 
chronizers, and  in  analyzing  shutter  ad- 
justments. Semi-portable  models  made 
for  several  of  the  larger  news  services 
and  lamp  division  olfices. 

General  Electric  Synchrograph 

The  synchrograph  provides  an  entire- 
ly self-contained,  simple  and  inexpensive 
device  for  checking  synchronization  of 
photoflash  lamp  and  camera  shutter. 
Adapted  to  use  by  news  and  other  pho- 
tographers. For  the  photographers'  pur- 
poses it  is  as  eff'ective  as  the  much 
more  costly  and  bulky  Flashometer. 

Drum  rotated  by  twirl  of  fingers.  Con- 
tains group  of  three  ports,  each,  at 
camera  and  flash  lamp  ends  to  record 
traces  as  shown  in  photograph.  Direc- 
tion and  amount  of  synchronizer  adjust- 
ment thereby  clearly  indicated. 

Has  very  largely  eliminated  the  for- 
mer plague  of  lamp  complaints  arismg 
from  improper  synchronizer  adjustment. 


The  flashograph  is  the  newest  member 
of  the  family.  The  recommendation  for 
the  award  sets  forth  it  is  a  complete 
life  testing  laboratory  for  flash  lamps, 
automatically  recording  the  history  of 
luminous  output  from  the  time  of  clos- 
ing the  switch.  Its  cost  is  stated  to  be 
but  a  small  fraction  of  an  oscillagraph 
assembly  and  that  operation  is  more  sim- 
ple and  expeditious. 


To  the  Four  Corners 

WITHOUT  knowing  what 
newspapers  in  other  com- 
munities may  be  report- 
ing about  storm  conditions  in  Los 
Angeles  and  Southern  California 
generally,  it  may  be  of  significance 
to  state  that  in  the  first  delivery 
on  the  morning  of  March  7  three 
letters  were  received  by  the  Amer- 
ican Cinematographer. 

Two  of  these  were  from  Chicago 
postmai-ked  March  1 — which  usu- 
ally would  have  been  delivered  by 
train  mail  March  4 — and  a  sub- 
scription from  Morocco.  That  was 
a  pretty  slim  mail,  especially  for 
an  eye-opener  on  a  Monday  morn- 
ing. But  .  .  . 

Again  it  may  be  of  significance 
to  set  forth  that  the  subscription 
from  Casablanca,  West  Morocco, 
marks  the  fifty-second  land  outside 
the  boundaries  of  the  forty-eight 
states  of  the  United  States  to 
which  each  calendar  month  the 
Cinematographer  now  spreads  its 
sturdy  wings. 


Visual  Educationists  Meet 
June  20  in  Chicago  School 

The  conference  council  of  the  national 
conference  on  visual  education  and  film 
exhibition  met  February  23  in  Chicago. 
Plans  for  the  1938  conference  were 
drawn  up,  and  invitations  extended  to 
a  number  of  prominent  speakers  in  the 
educational  and  advertising  fields.  The 
dates  set  were  June  20,  21,  22  and  23  at 
the  Francis  W.  Parker  School,  Chicago. 

The  conference  committee  has  planned 
to  make  this  year's  conference  a  series 
of  intensive  open  forums,  film  exhibi- 
tions and  clinical  discussions.  Produc- 
tion problems,  film  distribution,  methods 
of  handling  films,  utilization  of  film 
programs  in  educational  curricula  and 
a  general  discussion  of  films  themselves 
will  form  the  leading  features  of  the 
conference. 

A  banquet  in  honor  of  Herman  A. 
DeVry's  25th  anniversary  in  the  motion 
picture  field  is  being  planned  by  a  special 
committee. 


New  Willoughby  Pricelist 

Willoughby's  has  issued  No.  S-338  of 
its  Photographic  Supplies.  The  publica- 
tion is  5%  by  8^4  inches  in  size  and 
contains  sixty  pages  of  closely  packed 
lists  of  equipment  regularly  carried  in 
stock.  To  the  photographic  addict  the 
book  makes  interesting  perusal.  It's 
quite  certain  to  uncover  to  him  the  one 
thing  for  which  he  has  great  need  — 
and  maybe  several  others  in  lessening 
degree. 


A  new  enlarging  focus  finder,  which 
will  be  welcomed  by  users  of  hand- 
focused  vertical  enlargers  such  as  the 
Kodak  miniature  enlarger,  is  announced 
by  Eastman. 


April,  1938    •    American  Cinematographeb  175 


Helm  Invents  Portable 

Cinema  Testing  Set-Up 

ANEW  unit  as  handy  as  the  ex- 
posure meter  is  now  ready  for 
use  in  the  Portable  Camera  Test- 
ing Laboratory,  not  much  larger  than  a 
good  sized  suitcase  and  weighing  approxi- 
mately twenty-five  pounds.  This  was 
invented  by  Ennis  C.  Helm,  member 
Local  666,  Chicago;  Universal  Newsreel 
free-lance  field  cameraman,  Oklahoma 
City. 

Helm's  invention  and  development 
have  been  carried  through  all  types  of 
tests  and  found  to  be  stable  and  efficient 
in  saving  time  and  delays  of  motion 
picture  productions. 

The  unit  eliminates  all  types  of  studio 
laboratory  doghouses,  trailer  laboratories 
for  testing  purposes  and  the  loss  of 
time  in  sending  the  negative  to  the 
main  laboratory  for  processing  for  test. 

Recently  it  was  found  twelve  nega- 
tives could  be  tested  at  one  time  and 
from  each  an  8  by  10  paper  enlargement 
could  be  delivered,  the  first  test  print 
in  about  seven  minutes  and  the  others 
at  about  two  minute  intervals  or  just 
the  negatives  in  about  four  minutes. 

These  tests  can  be  carried  on  in  either 
the  studio  or  out  on  location,  and  the 
space  necessary  is  about  the  same  it 
takes  for  a  person  to  stand  in  or  abcut 
that  which  it  takes  to  place  a  camera 
and  tripod. 

It  can  be  worked  in  all  types  of  light 
conditions,  and,  too,  tests  can  be  carried 
on  while  in  transit  in  aeroplane,  auto- 
mobile, yacht,  speedboat  and  other  means 
of  transportation  as  the  unit  is  only  20 
inches  long,  18  inches  high  and  1.5 
inches  wide. 

The  unit  has  its  own  electrical  power 
source  and  divorces  itself  from  all  out- 
side needs.  When  working  under  either 
extreme  hot  or  cold  conditions  a  special 
heating  or  cooling  unit  is  furnished 
which  takes  care  of  keeping  the  solu- 
tions at  the  proper  temperatures,  thus 
giving  the  same  temperatures  as  found 
in  the  main  laboratory  tanks.  These 
units  are  small  and  compact  and  are 
carried  in  a  small  case  not  much  larger 
than  a  poi'table  typewriter  and  weighing 
about  the  same. 


KODACHROME 

DUPLICATES  Its. 

STITH  NOBLE  CORP. 

YO  0331 

645  North  Martel  Ave.,  Hollywood,  Calif. 


8       16  "io''  8 

Geo.  W.  Colburn  Laboratory 

Special  Motion  Picture  Printins? 
1197  MERCHANDISE  MART 
CHICAGO 


Ennis  C.  Helm  xvorkiny  in  his  temperature  controlled  Portable  Cinema  Testing 
Laboratory,  observing  through  patented  viewing  windows  equipped  ivith  light  traps 
and  filtre  glass  his  progress  in  developing  of  twelve  negative  strips  and  making 

8  by  10  enlargements. 


The  laboratory  will  be  manufactured 
in  Oklahoma  City,  where  the  inventor  is 
carrying  on  several  other  photographic 
improvement  designs. 


HOLLYUJOOD  RRT  FERTURETTES 


(A^ACT  STL  DENTS  A 


mOTION 
PICTURES 
OF  RRT 
mODELS 


pficiFic  cinE  Films  ^'svLEWoT^gLir 


CRAIG 

SPLICER  and  REWINDS 
8  or  16 


CRAIG  JUNIOR  COMBINATION  $8.50 

Junior     Splicer    with     two     geared  rewinds 
all  mounted  on  21"  board. 

CRAIG  MOVIE  SUPPLY  CO. 

1053  So.  Olive  St.  Los  Angeles,  Calif. 


Agfa  Adds  Darkroom  Outfit 
To  Its  Amateur  Equipment 

A  new  developing  and  printing  kit 
has  now  been  added  to  the  Agfa  ma- 
terial provided  for  amateurs  who  wish 
to  finish  their  own  films.  Known  as  the 
Agfa  darkroom  outfit  No.  2  this  new  set 
includes  somewhat  more  complete  and 
elaborate  equipment  than  was  provided 
by  the  No.  1  outfit. 

This  new  darkroom  outfit  forms  a 
desirable  developing  and  printing  set 
for  every  beginning  amateur  who  wants 
an  outfit  that  will  serve  as  the  nucleus 
of  his  darkroom  equipment — to  which 
he  can  add  additional  items  as  he  ex- 
tends his  developing  and  printing  activi- 
ties. Manufactured  by  Agfa  Ansco  Cor- 
poration the  darkroom  outfit  No.  2 
1.;  available  at  photographic  dealers. 


HUGO 
IVIEYER  1 

1^          ^^PEIOS  f/'S  TO  f/5.5 

m  LENSES 

Jr    HUGO  MEYER  &  CO. 

"        a45  W.  59  ST.,NEWYOKK 

NATURAL  COLOR 

8  X  lO    PRINTS  $5.95 

5  X  7  PRINTS  $3.95 

From  KODACHROME 

3x4  PRINTS  from  16mm.  $3.95 


Ruthenberg  Co.  Nat^rli 

4941     Sunset    Blvd.,    Dept.  A4, 


or  vinu  iilnni'v  liack. 
leading    Makers  of 

Color  Photosraphs." 

Hollywood,  Calif. 


176     American  Cinematocraphkr    •    April,  1<)3S 


Eastman  Makes  Enlarger  for  16  mn. 


EnlariU'v  for  mrtlntn/  hUick  (uid  ivhite  net/dtire  from  ninf/lc  liimm.  frame. 


AC  O  M  P  A  C  T  new  enlarger  for 
making  black  and  white  nega- 
tives from  single  frames  of  16mm. 
motion  pictures  is  announced  by  East- 
man. 

Operation  of  this  devise  is  so  simple 
that  errors  are  almost  impossible.  Nega- 


tives may  be  made  in  a  few  seconds 
from  either  black  and  white  film  or 
Kodachrome,  and  from  these  enlarged 
negatives  both  contact  prints  and  greater 
enlargements  are  possible. 

The  enlarger  is  of  particular  value 
to  the  amateur  movie  enthusiast  who 


possesses  no  darkroom  or  other  facili- 
ties for  making  enlarged  "stills"  from 
his  16mm.  reels.  It  permits  the  making 
of  a  series  of  negatives  in  rapid  suc- 
cession and  eliminates  the  need  of  im- 
mediate processing.  The  enlarger  loads 
with  a  standard  daylight-loading  film 
roll,  which  can  be  developed  at  leisure 
by  the  maker  or  sent  to  a  photo  finisher. 

One  of  the  major  virtues  of  the  new 
device  is  that  it  facilitates  the  making 
of  enlarged  "stills"  at  the  time  the  reel 
is  edited.  Heretofore,  this  work  has  in- 
volved delays,  troublesome  darkroom 
work,  recutting  of  the  film  reel,  fre- 
()uent  loss  of  good  frames,  additional 
splicing,  and  other  annoying,  time-con- 
suming operations. 

Aside  from  production  of  prints  for 
album  use  or  for  mailing  to  distant 
friends,  the  enlarger  has  a  variety  of 
uses.  Prints  from  the  enlarged  nega- 
tives, either  black  and  white  or  tinted, 
tan  be  utilized  as  title  backgrounds. 

The  enlarger  is  constructed,  for  com- 
pactness, in  the  form  of  a  folding 
Kodak,  and  is  loaded  and  operated  in 
much  the  same  way.  A  film  gate,  mount- 
ed before  the  enlarger  lens,  has  a  mask 
opening  the  exact  size  of  the  16mm. 
frame.  The  film  is  positioned  over  this 
opening,  between  guide  pins. 

A  locating  pin  engages  one  perfora- 
tion, keeping  the  film  in  exact  align- 
ment. There  is  no  cutting  of  the  movie 
film.  After  positioning,  the  cover  of  the 
gate  is  closed,  and  a  brief  exposure 
made  by  incandescent  light. 


Won't  Be  Disappointed  Using  a 


GOERZ 


KINO-HYP AR  LENS 
F  2.7  AND  F  3 

Focal   lengths  15mm  to  100  mm. 
Can  be  fitted  in  suitable  focusing 
mounts  to 
Amateur  and  Professional 

MOVIE  CAMERAS 

Undistorted  Microscopic 
DEFINITION 
Clear-cut  crisp 
BRILLIANCE 
★ 

MOVIE  CAMERA 
ACCESSORIES 

Such  as  Effect  and  Trick  Devices, 
Vignetters,    Focusing  Microscopes, 
Reflex  Focuses,  Variable  Field  View 
Finders,  etc. 

Address  Dept.  AC4 


C.P.GOERZ  AMERICAN  OPTICAL  CO. 


Milkers   of   iUterz   Ileuses   in  America 
•   Since   1899  • 


317  E.  34th  St. 


New  Yok,  N.  Y 


CLASSIFIED  ADVERTISING 


FOR  SALE 


REBUILT  SILENCED  AND  STANDARD  BELL 
&  HOWELL  170°  CAMERAS:  Bell  &  Howell 
sinele  system,  complete ;  rebuilt  B  &  H  sound 
printei-s ;  rebuilt  Duplex  sound  and  picture 
printers ;  200  ft.  Stinemann  developing  reels : 
used  measuring  machines.  Used  Mitchell  cam- 
eras, complete  Akeley  camera  equipment.  Akeley 
lOOO-ft.  magazines,  synchronous  camera  motors. 
Bell  &  Howell  1000  ft.,  400  ft.  magazines. 
Motors,  sunshades,  finders,  lenses  and  all  ac- 
cessories. 

Write,  wire  or  cable: 
MOTION   PICTURE   CAMERA   SUPPLY,  INC. 
723  Seventh  Avenue  New  York  City 

Cable :  Cinecamera 

BELL  &  HOWELL  5-WAY  SOUND  PRINTER. 
Generators,  Panel  Control  Boards,  Duplex  Print- 
ers, Sound  Moviolas.  Developing  Machines, 
Blimps,  Dolly,  B  &  H  splicers,  Mitchell  and 
B  &  H  Silent  Cameras,  Motors,  High-Speed 
Gear  Boxes,  Light  Testers,  Projection  and  Light- 
ing Equipment.  Guaranteed  optically  and  me- 
chanically perfect.  Send  for  1937  Bargain 
Catalogue.  Hollywood  Camera  Exchange.  1600 
Cahuenga  Blvd.,  Hollywood,  California.  Cable 
Hocamex. 

WE  BUY,  SELL  AND  RENT  PROFESSIONAL 
AND  16  mm  EQUIPMENT  NEW  AND  USED. 
WE  ARE  DISTRIBUTORS  FOR  ALL  LEAD- 
ING MANUFACTURERS.  RUBY  CAMERA 
EXCHANGE,  729  Seventh  Ave.,  New  York  City. 
Established  since  1910. 

COMPLETE  DODGE  SOUND  TRUCK,  READY 
for  production — Blue  Seal  variray  variable  area 
recording  system — converter,  mike  boom,  exten- 
sion mixer,  batteries,  cables,  all  accessories — 
guaranteed. 

BLUE  SEAL  SOUND  DEVICES,  INC. 

723  Seventh  Ave.  New  York  City 

PRINTING  and  duplicating  uf  motion  pictures. 
Continuous  machine  deve'opment  under  sensito- 
metric  control.  RUSSELL  I.  CAPWELL,  42 
West  Warwick  Ave.,  West  Warwick,  R.  I. 


BELL  AND  HOWELL  170°  CAMERAS— High 
speed  shuttles — high  speed  gear  boxes — 400  and 
1000  foot  Bell  &  Howell  magazines— Bell  & 
Howell  tripods — motors.  Mitchell  silenced  cam- 
eras. AKELEY  and  DEBRIE  CAMERAS.  Akeley 
motors.  High  speed  motors.  Sunshades,  lenses 
and  finders. 

Write  or  Wire 
CAMERA  EQUIPMENT,  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 

BELL  &  HOWELL  MOTORIZED  EYEMO.  LIKE 
new.  47  mm.  Cooke  F2.5  Kinic.  3'-4  mm.  Cooke 
F3.3  Kinic,  6  mm.  Cooke  F4..5  Kinic.  New 
motor.  B.  &  H.,  110  v.  AC  or  DC.  New  Free- 
head  Tripod,  B.  &  H.  Two  4C0-ft.  Magazines. 
Camera  Cover.  Filter  Slot  in  Camera.  Full 
and  Academy  Aperture.  Head,  Magazine  and 
Battery  Case.  Leather  and  Canvas  Tripod  Case. 
Price,  $650.00. 

LANDERS  &  TRISSEL 

6313  Sunset  Blvd.  Hollywood,  Calif. 

EQUIPMENT— FOR  SALE  AND  RENT 

MITCHELL.  BELL  &  HOWELL,  AKELEY,  DE- 
BRIE, EYEMOS.  Cash  for  your  used  16  and 
35mm.  cameras.  Camera-Mart,  Inc.,  110  West 
40  St.,  New  York.  

WANTED 

WE  PAY  CASH  FOR  YOUR  USED  CAMERA, 
LABORATORY     AND     STUDIO  EQUIPMENT. 

Write,  wire  or  cable 
MOTION    PICTURE    CAMERA    SUPPLY,  INC. 
723  Seventh  Avenue,  New  York  City 

WANTED :  We  pay  cash  for  every  thing  photo- 
graphic. Send  full  information  and  lowest  cash 
prices.  HOLLYWOOD  CAMERA  EXCHANGE. 
1600  Cahuenga  Blvd.,  Hollywood,  Calif. 

WANTED  TO  BUY  FOR  CASH 

CAMERAS  AND  ACCESSORIES 
Mitchell.  B  &  H,  Eyemo,  DeBrie,  Akeley. 
Also   Laboratory   and   Cutting   Room  Equipment. 

CAMERA  EQUIPMENT.  INC. 
1600  Broadway,  New  York  City      Cable:  Cinequip 


Society  of  Amateur 
Cinematographers 

CHARTER  MEMBERSHIP 
CLOSED 

THERE  WILL  BE  ONLY  1000 
REGULAR  MEMBERSHIPS 
AVAILABLE- 
THEN  THE  MEMBERSHIP  WILL 
BE  CLOSED 

Fee  $5.00  a  Year 

Membership  will  include  a  subscription  to  the 
American  Cinematographer.  It  also  will  include 
the  use  of  the  outstanding  films  made  by  members 
of  the  Society  of  Amateur  Cinematographers.  If 
films  are  submitted,  the  best  will  be  duplicated  and 
an  analysis  prepared  by  members  of  the  American 
Society  of  Cinematographers.  This  analysis  will  go 
with  the  picture  and  the  picture  will  be  available  to 
any  member  of  the  Society  of  Amateur  Cinema- 
tographers. 

^  ^ 

Technical  consulting  service. 

^  ^ 

Film  review  service.  Send  your  films  if  you  like  for 
criticism  and  review  by  the  acknowledged  camera- 
masters  of  the  world,  by  Hollywood's  greatest 
Directors  of  Photography. 


Society  of  Amateur  Cinematographers 
1782  North  Orange  Drive 

Hollywood,  Calif.  Date  

I  hereby  apply  for  membership  in  the  Society  of  Amateur 
Cinematographers.  My  remittance  for  $5.00  made  payable 
to  the  Society  includes  the  payment  of  dues.  Of  this 
amount  $2.50  is  to  apply  to  a  year's  subscription  to  the 
American  Cinematographer. 

MEMBERSHIP— $5.00  a  year 


Name   

Street   

City   State  

Please  print  name  and  address 


DIFFERENT 

From  Any  Other  Screen 


ONLY  THE 


DfrUTf 


U.  S.  Pat.  Off. 


CHALLENGER 

Gives  You  All  of  These  Advantages 

1 IMPROVED  GLASS-BEADED  SURFACE  for  the 
,  brightest,  clearest  pictures  you  have  ever  seen. 
Applied  bv  Da-Lite's  new  improved  process,  the 
beads  on  this  surface  arc  now  uniformly  distributed, 
and  reflect  more  light  over  a  wider  area.  They  faith- 
fully reproduce  all  color  values  in  the  film.  They 
are  guaranteed  not  to  shatter  off.  Only  the  Da-Lite 
Glass-Beaded  surface  has  all  these  advantages.  Da-Lite 
also  makes  Mat  White  and  Silver  screens  but  the  Da- 
Lite  Glass  Beaded  Screen  is  recommended  for  the 
average  projection  requirements. 

2 SQUARE   TUBING    (Not   round)    in   the  center 
,  rod    of   tripod    and    extension  support  prevents 
case  from  turning  and  throwing  part  of  the  pic- 
ture out  of  focus — an  exclusive  feature  of  the  Da-Lite 
Challenger. 

3 ADJUSTABLE  HEIGHT.  The  fully  opened  39" 
»  by  52"  Standard  Challenger  can  be  adjusted  so 
that  the  bottom  of  the  case  is  37"  from  the  floor, 
46"  from  the  floor  or  54"  from  the  floor.  Other  sizes 
permit  adjustments  in  height,  proportionately  greater 
or  smaller.  The  screen  when  raised,  locks  auto- 
matically in  position.     No  thumb-screws! 

The  Challenger  is  only  one  of  many  styles  in  the  Da- 
Lite  line.  See  these  finer  screens  at  your  dealer's  or 
write  for  free  literature! 

Da-Lite  Screen  Co.,  Inc. 

Dept.  4AC.  2723  N.  Crawford  Ave.,  Chicago,  III. 


Mitchell  Sound  Recorder 


Built  to  the  same  high 
standards  of  the 
Mitchell  Cameras 
and  giving  equally  fine 
results. 


A  Portable  Unit  for  Studio 
or  Location  Work 

Mitchell  Camera  Corporation 

665   NORTH   ROBERTSON  BOULEVARD 
WEST  HOLLYWOOD,  CALIF. 

Cable  Address  "MITCAMCO"  Phone  OXford  1051 

AGENCIES 

BELL  &  HOWELL  CO.,  LTD.,  London,  England  MOTION  PICTURE  CAMERA  SUPPLY,  INC.,  New  York  City 

CLAUD  C.  CARTER,  Sydney.  Australia  BOMBAY  RADIO  CO.,  LTD.,  Bombay,  India 

D.  NAGASE  &  CO.,  LTD.,  Osaka.  Japan  H.  NASSIBIAN,  Cairo,  Egypt 


"1  ^'4^ 


May,  1938 

Published  in  Hollywood  by 
American  Society  oi  CinematoOTophen 


mm) 


The  ideal  balance  of  color 
sensitivity  for  the  purpose  in^ 
tended  is  a  mark  of  Du  Pont 
cine  film  products. 

Superior  Pan  is  outstanding 
for  incandescent  work.  Sensi- 
tivity is  well  balanced  over  the 
spectrum  so  that  flesh  tones  are 
recorded  most  faithfully. 

Use  the  balanced  film, 
Du  Pont  Superior  Pan  in  your 
next  production. 


Du  Pont  Film  Manufacturing  Corporation 

INCORPORATED 

9  Rockefeller  Plaza  SMITH  &.  ALLER,  LTD. 

New  York.  .  .  .  N.  Y.  6656  Santa  Monica  Blvd. 

Plant  .  .  Parlin,  N.J.  Hollywood  .  .  .  California 


BETTER  THJNQS  for  BETTER  LIVWQ  through  CHEMISTRY 


May,  1938      •      American  Cinematographer  177 


The  netv  Eyemo 
stripped  jor  use  as 
light  hand  camera 


NEVER  before  has  there  been  a  camera  with  the 
versatility  of  the  new  Eyemo!  Today  this  al- 
ready superb  3  5  mm.  movie  camera  is  even  finer- 
ready  in  an  instant  to  cope  successfully  with  emer- 
gencies and  special  assignments  both  in  studio  and 
afield. 

What  will  you  have.''  A  swift  shift  of  lenses.-*  .  .  . 
conversion  from  100-foot  film  capacity  to  200-  or 
400-foot  magazines?  ...  a  tripod  mount  or  a  light, 
easy-to-handle  hand  camera.-*  ...  a  change  from 
electric  to  spring  or  hand  drive  when  convenience 
dictates?  ...  a  silent  camera  or  a  hookup  for  sound? 
.  . .  slow  motion  or  silent  or  sound  speeds?  What- 
ever the  demand,  the  new  Eyemo  is  there  to  meet  it. 

The  new  Eyemo  is  made  with  typical  Bell  & 
Howell  precision  and  yet  with  a  sturdiness  that 
gives  it  unmatched  dependability  in  the  strenuous 
work  for  which  it  is  designed.  Such  features  as 
three-lens  turret,  focusing  and  diaphragm  controls 
visible  through  the  spyglass  viewfinder,  inter- 


changeability  of  motors,  standard  S.  M.  P.  E.  sound 
aperture,  and  vibrationless  governor  assuring  accu- 
rate speeds  make  the  new  Eyemo  distinctively  supe- 
rior in  the  field  of  portable  cameras  — an  instrument 
of  unexcelled  performance. 

Send  the  coupon  below  for  literature  describing 
the  new  Eyemo  in  detail — it  will  be  mailed  without 
obligation.  BELL  &  HOWELL  COMPANY,  1848 
Larchmont  Avenue,  Chicago;  New  York:  1 1  West 
42d  Street;  Hollywood:  716  North  La  Brea  Avenue; 
London:  1 3-14  Great  Castle  Street.  Established 1907. 

MAIL   COUPON    FOR    FULL  INFORMATION 

'  ~1 


BELL  &  HOWELL  COMPANY  ac  5  38 

1848  Larchmont  Ave.,  Chicago,  Illinois 

Please  mail  me  (  )  Complete  information  about  Eyemo  Cameras, 
(  )  Taylor-Hobson  Cooke  lens  catalog. 


I 
I 
I 
1 
I 
I 
I 
I 

AMress   | 

I 
I 


Name 


City. 


.  State  . 


BELL  &  HOWELL 


SPEED 


..AND  WHAT  ELSE? 


AGFA'S  new  35  mm.  negatives 
— Supreme  and  Ultra-Speed  Pan- 
chromatic— are  the  fastest  films 
ever  offered!  Ultra-Speed  is  three 
times  as  fast  as  Superpan . . .  Su- 
preme is  ttvice  as  fast. 

But  the  important  thing  about 
these  amazing  new  films  is  not 
their  speed  alone.  It's  that  the 
speed  has  been  achieved  without 
a  sacrifice  of  other  qualities  essen- 
tial for  good  results. 

Agfa  Supreme  is  even  better  in 
grain  size,  color  balance  and 
gradation  than  Superpan!  Yet  its 


increased  speed  permits  shoot- 
ing under  less  light  or  allows 
stopping  down  to  obtain  more 
focal  depth,  thus  greatly  extend- 
ing the  scope  of  the  film. 

Originally  designedfor  newsreel 
photography,  Agfa  Ultra-Speed 
is  now  being  used  in  many  appli- 
cations where  the  greatest  speed 
possible  is  desired. 

BOTH  AVAILABLE  NOW! 

Give  these  astonishing  new 
negatives  a  try-out  right  away! 
Made  by  Agfa  Ansco  Corpo- 
ration in  Binghamton/  N.  Y. 


C.  KING  CHARNEY, 


INCORPORATED 


HOLLYWOOD 

6424  Santa  Monica  Blvd. 
TEL.  Hollywood  2918 


NEW  YORK 

245  West  5  5th  St. 
TEL.  Circle  7-463  5 


May,  1938     •     American  Cinematographer  179 


AMERICAN 
CINEMATOGRAPHER 


A  Technical  and  Educational  publication 
on  motion  picture  photography. 

Published  monthly  by  the 

AMERICAN  SOCIETY 

OF  CINEMATOGRAPHERS,  INC. 

178'2  North  Orange  Drive 
Hollywood  (Los  Angeles),  California 

Telephone  GRanite  2135 

VICTOR  MILNER,  President. 
FRED  W.  JACKMAN,  Treasurer. 


Vol.  19 


May,  1938 


No.  5 


Contents 


Press  agent  turned  picturemaker  would 
put  sales  stuff  in  script  180 

Haller  wins  critics'  award  for  best  pho- 
tography during  March  183 

By  George  Blaisdell 

Milner,  re-elected  A.S.C.  head,  pledges 
co-operation  to  industry  185 

Valentine's    "Wings    Over  Honolulu" 
rated  one  of  three  in  year's  best...  187 

Arnold  devises  semi-automatic  follow- 

focus  finder  for  cameras  188 

By  William  Stull,  A.S.C. 

Wadley  and  Rayton  discover  their  geom- 
etry quite  the  same  189 

What  About  Me?  190 

By  Bee  Gee,  A.S.C. 

George  Folsey  master  of  ceremonies  at 
A.S.C.  April  gettogether  194 

Papers  on  color  and  sound  get  play 
from  Engineers'  convention  196 


( 


The  Front  Cover 

HERE  we  have  Edgar  Bergen, 
A.S.C,  and  Charlie  McCarthy 
playing  as  themselves  in  Universal's 
"Letter  of  Introduction,"  with 
Andrea  Leeds  as  Kay  Martin.  They 
are  three  of  the  principal  characters 
in  the  picture,  which  for  the  first 
two  named  means  their  debut  in  a 
feature.  While  of  course  they  have 
been  in  other  pictures,  they  either 
were  shorts  or  were  for  brief  ap- 
Iiearances  even  though  of  major 
importance  in  the  subject.  Karl 
Freund,  A.S.C,  directs  photography 
on  "Letter  of  Introduction"  and 
John  Stahl  directs.  The  still  was 
photographed  by  Ray  Jones. 


The  Staff 


EDITOR 

George  Blaisdell 

WASHINGTON 
STAFF  CORRESPONDENT 
Reed  N.  Haythorne,  A.  S.  C. 

TECHNICAL  EDITOR 

Emery  Huse.  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 

Victor  Milner.  A.  S.  C. 
James  Van  Trees,  A.  S.  C. 
Fred  W.  Jackman,  A.  S.  C. 
Farciot  Edouart,  A.  S.  C. 
Fred  Gage,  A.  S.  C. 
Dr.  J.  S.  Watson,  A.  S.  C. 
Dr.  L.  A.  Jones,  A.  S.  C. 
Dr.  C.  E.  K.  Mees,  A.  S.  C. 
Dr.  W.  B.  Rayton,  A.  S.  C. 
Dr.  Herbert  Meyer,  A.  S.  C. 
Dr.  v.  B.  Sease.  A.  S.  C. 

CIRCULATION  MANAGER 

L.  F.  Graham 

NEW  YORK  REPRESENTATIVE 

S.  R.  Cowan,  19  East  47th  St.,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 

Georges  Benoit,  100  AUee  Franklin, 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 

AUSTRALIAN  REPRESENTATIVE 

McGill's,  179  Elizabeth  Street,  Melbourne, 
Australian  and  New  Zealand  agents. 

Neither  the  American  Onematographer  nor 
the  American  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. This  magazine  will  not  be  respon- 
sible for  unsolicited  manuscripts. 


ESTABLISHED  1920.  AdvertisinR  Rates  on  application.  Subscription:  United  States,  $2.50  a  year;  Canada  and  the  Pan-American  Union,  $2.50  a  year; 
Foreign,  $3.50  a  year.  Single  copies,  25  cents  ;  back  numbers,  30  cents  ;  foreign,  single  copies,  35  cents  ;  back  numbers,  40  cents.  COPYRIGHT  1938  by 
American  Society  of  Cinematographers,  Inc. 


Entered  as  second  c)a.<-s  matter  November  18,  1937.  at  the  post  office  at  Los  Angeles,  California,  under  the  Act  of  March  3.  1879. 


180     American  Cinematockafhkk      •      May,  1938 


Press  Agent  Turned  Pictiiremaker 
IV luld  Put  Sales  Stuff  in  Script 

Pete  Smith  Works  on  Theory  that  Time  to  Sell 
Picture  for  Exhibitor  Is  Before  Camera  Turns 


IT'S  a  novel  thought  even  in  Holly- 
wood that  the  training  implanted  by 
the  every-day  work  of  a  studio  press 
agent  should  constitute  first-class  prep- 
aration for  the  career  of  a  producer — 
of  a  successful  producer.  We  hand  you  a 
shining  example — a  sparkling  example: 
Pete  Smith,  MGM  shorts  producer. 
Of  course,  the  routine  of  studio  press 
agent  in  his  case  did  not  cieate  the 
sparkle  that  accompanies  and  illumines 
his  screen  product.  That  scintillating 
quality  is  native  to  the  man.  It  was  his 


when  as  a  stripling,  a  gangling  lad,  he 
entered  the  employ  of  the  Bosworth 
studio  back  in  1913. 

But  it  did  bring  out  the  latent  quality, 
always  just  under  the  surface,  to  over- 
look no  bet  that  would  permit  him  to 
advance  the  interests  of  the  man  or 
company  that  slipped  him  his  weekly 
pay  check. 

His  job  always  was  in  the  top  of  hi.s 
mind  and  the  fact  spilled  over  even  at 
the  most  unexpected  times  and  in  the 
most  unexpected  places.  You  naturally 


hardly  would  expect  the  dragging  in  of 
the  name  of  an  employer  or  employers  at 
a  weekly  gathering  of  press  agents — 
as  tough  a  bunch  of  hard-boiled  eggs  as 
ever  sat  in  on  a  Dutch  treat— like  the 
Ampas  in  New  York,  for  example. 

Real  Audacity 

But  the  audacity  of  selling  one  studio 
to  a  gathering  of  fellow-studio  press 
agents  was  nothing  unusual  for  Pete 
Smith,  even  though  his  associates  may 
have  thought  so.  If  they  refrained  from 
chiding  him  on  what  they  considered  his 
temerity  nevertheless  it  may  be  said 
without  exception  they  envied  this  lad 
even  while  they  admired  him. 

That  was  twenty  or  more  years  ago. 
This  writer  as  a  member  of  the  trade 
paper  gang  was  permitted  to  sit  in  and 
listen  to  the  flow  of  wit  and  the  merci- 
less ribbing  that  traveled  up  and  down 
the  room. 

Sitting  in  the  office  of  Pete  Smith  in 
the  shorts  department  of  MGM  along 
toward  the  end  of  April  the  man  who  in 
the  last  seven  years  has  conducted  one 
of  the  most  novel  and  one  of  the  mcst 
successful  series  of  short  subjects  the 
industry  has  known  admitted  that  in  the 
course  of  eighteen  years  he  had  so  many 
times  approached  the  problem  of  exploit- 
ing a  particular  screen  subject  that  of 
exploitable  material  was  as  bare  as  a 
famous  cupboard  he  had  made  up  his 
mind — not  once  but  many  times — that  if 
ever  it  fell  to  him  to  make  a  picture  he 
would  before  he  turned  a  wheel  on  it 
make  full  pieparation  for  selling  that 
product  to  the  exhibitor  and  for  the  ex- 
hibitor in  turn  to  sell  that  product  to  the 
public. 

Building  for  Exhibitor 

A  striking  example  of  box  office  qual- 
ity, of  exploitation  possibilities,  is 
"Modeling  for  Money,"  which  recently 
has  come  from  the  hand  of  the  producer- 
commentator.  It  demonstrates  how  a 
model  lives,  and  in  the  course  of  its  tell- 
ing shows  a  girl  with  the  most  perfect 
figure  following  a  competitive  test. 

Of  course  the  smait  exhibitor  will  con- 
duct a  test  in  his  own  theatre,  the  local 
newspaper  publisher  eager  always  to 
jump  his  circulation  will  fight  to  tie  in 
with  the  theater  man — and  what  is  more 
than  probable  every  woman  in  the  town, 
speaking  with  measurable  conservatism, 
will  be  making  full  use  of  a  tape  measure 
to  discover  how  near  she  may  approach 
the  announced  Venuslike  dimensions  of 


Illustrating  exploitation  in 
production.  Dorothy  Belle 
Dug  an,  selected  by  Pete 
Smith  as  Miss  Perfection  in 
Personality  Plus  Figure  and 
appearing  in  the  lead  of  Pete 
Smith's  MGM  screen  specialty 
short,  "Modeling  for  Money." 
Pliotog  r  a  p  h  e  d  by  Charles 
Laivton  Jr.,  A.S.C.  Still  by 
George  Hommel.  Jack  Cher- 
tck  was  producer  and  Dave 
Miller  directed. 


May,  1938     •     American  Cinematographer  181 


Pete  Smith,  creator  of  something  new  in 
screen  entertainment,  with  his  academy 
award  for  the  best  Technicolor  short 
for  1937. 


the  successful  nominee  in  the  Pete  Smith 
short. 

It  will  provide  what  amusement  men 
describe  as  box  office  stuff  and  it  will 
furnish  for  men  and  women  something 
possibly  even  rarer — an  abundance  of 
interest — with  the  question  as  to  where 
the  major  interest  rides  open  to  the  indi- 
vidual opinion  of  the  person  queried. 

Gets  Two  Awards 
This  may  be  a  good  place  to  say  that 
for  the  excellence  of  his  work  Pete 
Smith  was  given  an  Academy  award  for 
1937  for  "Penny  Wisdom,"  declared  the 
best  Technicolor  short.  It  was  a  subject 
on  cooking.  The  award  has  a  place  of 
honor  in  the  producer-commentator's 
office. 

But  near  the  emblem  is  another  award, 
also  for  1937,  one  from  the  exhibitors. 
It  was  for  the  best  black  and  white 
novelty  short  and  went  to  "The  Killer 
Dog." 

Smith's  introduction  to  publicity  was 
as  an  assistant  to  Harry  Reichenbach, 
"the  greatest  press  agent  ever,"  as  the 
producer  declared  during  the  chat.  What 
the  former  press  agent  characterized  a 
most  fortunate  affiliation  was  due  to  an 
unusual  chain  of  circumstances,  one  upon 
which  now  he  can  look  back  with  a  smile. 

While  a  reviewer  on  a  trade  paper  he 
had  been  assigned  to  cover  a  show  the 
leading  comedian  of  which  he  was  satis- 
fied by  too  frequent  contact  promised  no 
entertainment  for  him.  There  were  delays 
on  the  way  to  the  show,  congenial  ones, 
perhaps  even  convivial  ones,  but  he  didn't 
get  to  see  the  peiformance. 

The  reviewer  was  young  and  he  wrote 
the  review  just  as  he  had  seen  the  per- 
formance before  and  as  he  could  visual- 
ize it  without  seeing  it.  He  wrote  a  pan 
and  paid  special  attention  to  his  pet 
abomination.  Of  course  he  could  not  know 
his  aversion  with  a  big  A  had  in  the 
course  of  a  fall  encountered  a  broken 
ankle  and  was  not  in  the  show.  But  it 
all  came  out  later  on.  And  not  un- 
naturally the  reviewer  retired. 

Later  when  head  of  the  motion  picture 
department  of  Billboard  he  had  occasion 
to  attend  for  review  Bosworth's  "Hypo- 
crites." It  was  to  be  a  swank  affair  at 
the  Astor,  in  the  gold  ballroom  and  with 
a  big  orchestra. 

Bit  of  Praising 

At  the  time  there  was  considerable 
effort  on  the  part  of  cameramen  to  make 
multiple  exposures,  double  and  triple,  but 
in  one  sequence  here  something  like 
seventeen  were  claimed.  It  was  all  de- 
scribed in  a  most  attractive  booklet  which 
the  producer  had  prepared,  with  cast, 
synopsis  and  all  the  dope. 

The  reviewer  was  delayed  so  seriously 
that  the  last  reel  was  on  the  screen  when 
he  made  his  appearance,  but  he  got  one 


of  the  booklets.  Not  to  be  caught  twice 
in  the  same  trap  and  being  influenced 
by  the  swank  description  of  the  whole 
party — a  novelty  at  the  time — the  young 
reviewer  laid  off  of  the  pan  stuff.  He 
praised — warmly. 

'You  Are  a  Press  Agent' 

After  the  appearance  of  the  publica- 
tion carrying  the  reviewer's  story  Carl 
Pierce,  Bosworth's  executive,  entered  the 
office  and  inquired  as  to  the  identity  of 
the  writer  of  his  review.  With  a  concern 
not  entiiely  and  successfully  concealed 
the  writer  admitted  "I  did."' 

"Young  man,"  said  Pierce,  "any  one 
who  can  sling  adjectives  the  way  you  do 
has  no  business  doing  what  you're  doing. 
You  are  a  press  agent.  There's  a  place 
in  my  office  for  you." 

It  was  but  a  few  weeks  later  when  a 
wave  of  retrenchment  washed  the 
youngster  away  from  his  desk.  In  Pierce's 
office  he  remarked:  "I'm  here  to  call 
your  bluff." 

"No  bluff  about  it,"  replied  Pierce  in 
his  gentle  fashion.  "Hang  up  your  hat 
and  go  help  Harry  Reichenbach." 


A  little  later  Reichenbach  quit  his  $400 
job — a  fortune  for  a  press  agent  in  those 
times — and  Smith  moved  over  to  his 
desk.  "The  only  difference  between  my 
pay  and  Harry's,"  as  it  was  explained 
the  other  day,  "was  $375  a  week.  But 
it  was  a  great  investment  nevertheless." 
And  so  the  future  producer  was  now  a 
full-fledged  press  agent. 

The  Bosworth  Studio,  in  Los  Angeles, 
was  an  independent  producer  in  1913  re- 
leasing through  Famous  Players. 

Then  the  Lasky  studio  took  over  Bos- 
worth, and  in  the  course  of  time  Lasky 
was  merged  with  Famous  Players.  In  a 
comparatively  brief  period  the  merged 
companies  again  were  put  under  another 
blanket,  and  this  time  to  stay,  that  of 
Paramount  Pictures. 

Promotion  Through  Merger 

That  meant  three  mergers.  In  spite  of 
what  usually  happens  in  parallel  circum- 
stances the  young  press  agent  did  not 
find  himself  on  the  outside  looking  in. 
On  the  contrary  with  each  merger  his 
stature  and  pay  check  junrped.  When  he 
finally  landed  in  the  lap  of  Paramount 


182     American  Cinematographer 


May,  1938 


it  was  as  head  of  the  publicity  de- 
partment. 

Then  he  joined  Marshall  Neilan  for 
three  and  a  half  years.  While  there  he 
was  farmed  out  to  conduct  the  advertis- 
ing and  publicity  campaign  on  "Robin 
Hood,"  as  well  as  to  oversee  the  dozen 
road  show  companies  that  enjoyed  un- 
usual runs.  New  York,  for  instance,  held 
for  over  two  months,  with  Boston,  Pitts- 
burgh and  Chicago  holding  about  the 
same.  Grauman's  Chinese  in  Hollywood 
held  for  over  three  months. 

There  were  palmy  days  as  the  head  of 
a  publicity  bureau.  It  started,  inci- 
dentally, in,  a  one-room  office  at  the 
Brunton  Studio  in  Los  Angeles,  where 
Paramount  is  now,  which  had  been  pro- 
vided by  Mike  Levee.  There  was  a 
secretary  and  himself,  two  desks,  one 
typewriter  and  one  electric  bulb. 

In  two  months  he  had  a  staff  of  fifteen 
persons  and  making  more  money  than 
he  had  made  in  his  life.  But  the  reason 
was  quite  apparent.  Practically  all  high- 
salaried  studio  men  and  women  were 
freelancing. 

Some  of  the  better  paid  directors  and 
players  were  contributing  to  him — each 
week  be  it  noted— from  $100  to  $150  a 
week.  Then,  as  not  infrequently  hap- 
pened, if  a  player  should  be  working  in 
two  pictures  at  the  same  time  and  draw- 
ing double  salary,  he  would  pay  double 
fee  for  double  service. 

Times  Changing 

Among  his  clients,  to  whom,  as  he 
says,  were  given  an  honest  to  God  pub- 
licity service,  were  Conway  Tearle,  Mil- 
ton Sills,  and  Colleen  Moore,  players; 
and  Maurice  Tourneur,  Marshall  Neilan', 
George  Loane  Tucker  and  Sam  Wood, 
directors.  While  this  was  going  on  Louis 
B.  Mayer  was  making  gestures  to  the 
head  of  the  bureau. 

And  times  were  changing.  The  studios 
were  creating  stock  companies  and  en- 
larging their  studio  publicity  depart- 
ments. Smith  decided  to  go  with  L.  B. 
He  bequeathed  his  business  to  his  asso- 
ciates, but  it  was  only  a  few  months 
before  the  change  in  methods  forced  its 
closing. 

That  was  in  1925.  His  entrance  in  the 
MGM  publicity  department  very  nearly 
coincided  with  the  coming  of  Garbo.  And 
so  long  as  he  remained  in  the  publicity 
department  he  handled  all  of  the  Swedish 
player's  initial  material. 

"All  of  the  mystery  and  silence  that 
cling  to  the  personality  of  Garbo  was 
an  accident  in  a  measure,"  declared  the 
producer.  "The  actress,  it  is  true,  tired 
of  being  constantly  misquoted  as  to 
things  she  had  talked  about  and  of  hav- 
ing invented  things  she  never  had 
thought  of.  It  was  decided  to  say  nothing 
and  relieve  the  player  of  the  annoyance. 

"We  discovered  much  more  was  being 
printed  about  her  when  we  had  closed 
the  source  of  supply.  And  in  the  mean- 
time the  player  had  become  something 
of  a  recluse  and  she  was  not  bothered. 
But  to  our  amazement  she  got  more 
publicity  than  if  she  had  consented  to 
meet  every  reporter  in  town." 

Asked  as  to  what  impressed  him  as 


among  the  more  spectacular  of  the  ex- 
ploits he  had  employed  in  the  interest 
of  MGM  the  producer  considered  a 
moment. 

lyeo  Gets  a  Ride 

"Well,  among  them  perhaps  was  that 
time  we  crashed  the  front  pages  of  the 
country's  papers  when  a  plane  in  which 
we  were  sending  Leo  the  lion  to  New 
York  crashed  in  Aiizona. 

"We  had  secured  from  the  Ryan  Air- 
plane Company  a  sister  ship  of  the  Spirit 
of  St.  Louis,  the  craft  which  carried 
Lindbergh  across,  and  as  a  pilot  we  had 
engaged  Martin  Jansen,  runner-up  in  the 
race  to  Honolulu. 

"There  weie  questions  a  plenty  as  to 
how  we  could  get  that  animal  into  the 
plane,  but  it  was  solved  by  putting  him 
in  a  cage  that  did  not  permit  him  to 
turn  around  and  incidentally  permit  him 
to  upset  the  balance  of  the  ship. 

"The  Humane  Society  protested,  and 
even  tried  to  prevent  the  shipment.  So 
we  invited  a  couple  of  the  representatives 
of  the  society  to  take  an  air  trip  with 
the  lion.  They  did  and  they  were  con- 
vinced it  really  was  the  more  humane 
thing  taking  an  animal  to  New  York  in 
a  plane  than  by  other  means. 

"Eveiything  would  have  been  quite 
all  right  if  Jansen  in  passing  over  a 
high  elevation  in  Arizona  hadn't  dropped 
down  to  wave  to  some  relative — and 
then  couldn't  make  the  grade  to  get  .ip 
again. 

"You  see,  we  were  out  for  a  non-stop 
flight  from  the  Pacific  to  the  Atlantic. 
While  ships  had  made  the  flight  from 
east  to  west  they  had  done  so  because 
they  had  been  able  to  make  the  high 
western  elevations  with  depleted  gas 
tanks.  But  going  east  they  had  to  clear 
the  ranges  with  loaded  tanks.  And  these, 
with  the  increased  weight  of  the  animal, 
caused  the  crash. 

Living  Billboard 

"The  grounding  of  the  plane  was  not 
at  first  discovered  and  the  newspapers 
began  to  suggest  the  plane  had  not 
started.  They  thought  they  smelled  a 
mouse.  There  was  even  talk  of  running 
me  out  of  town.  Then  the  A.  P.  found  the 
cracked-up  plane  and  took  a  picture  of 
it." 

Another  of  the  more  spectacular  ex- 
ploitations engineered  by  Smith  was  tha 
living  billboard  he  established  on  Wilt- 
shire Boulevard,  the  employment  of  girls 
in  garb  hardly  compatible  with  the  early 
fall  evening  temperature.  It  was  in  the 
interest  of  the  "Hollywood  Revue"  at  the 
Chinese  and  the  first  time  in  theater 
advertising  a  billboard  ever  had  attracted 
so  much  attention. 

Traffic  was  blocked  on  both  sides  of 
the  street  for  the  hour  or  more  the  girls 
were  in  evidence.  It  all  came  to  an  end 
when  the  police  decided  that  not  only  did 
it  tie  up  traffic  but  it  endangered  it  by 
reason  of  the  failure  of  drivers  to  attend 
to  their  knitting.  Nevertheless  the  ex- 
pedient was  adopted  the  world  over. 

In  1931  MGM  inaugurated  a  series  of 
short  subjects,  with  Joe  Farnham  selected 
as  the  commentator.  The  initial  picture 


was  on  tuna  fishing,  a  six-reeler  cut  down 
to  one.  Farnham  had  done  the  comment- 
ing, which  for  a  former  trade  paper  man 
with  a  flair  for  humor  was  pretty  much 
down  his  alley.  His  work  prior  to  that 
had  been  largely  in  the  title  department. 
The  picture  was  a  success  and  a  series 
of  shorts  to  be  made  had  been  sold  to 
exhibitors. 

Farnham's  sudden  death  precipitated  a 
wide  search  on  the  part  of  the  studio  to 
find  a  successor.  The  studio  committee 
considered  actors  who  could  read  lines, 
but  it  was  important  the  incumbent  also 
be  able  to  write.  At  one  of  the  meetings 
the  committee  admitted  it  was  stumped 
to  find  a  man  to  succeed  Farnham. 

Chief  Knows  His  Man 

During  the  half  dozen  years  Smith  had 
been  with  the  publicity  department  he 
had  made  many  trips  long  and  short 
with  the  head  of  the  studio.  Many  of 
these  involved  the  making  of  speeches 
on  the  part  of  L.  B.  Naturally  serious 
when  on  his  feet  the  producer  often  had 
turned  to  Smith  to  suggest  a  thread  of 
lighter  comment.  He  always  had  secured 
it.  He  knew  the  capacity  of  his  publicity 
man  better  than  any  other  person  in  the 
studio. 

"Gentlemen,  the  man  you  are  seeking 
is  right  here  with  you  in  the  studio,"  sug- 
gested the  chief  to  his  subordinates. 
"Pete  Smith  can  fill  the  bill."  And  fill  it 
he  did,  right  from  the  start. 

One  of  the  outstanding  of  the  115  sub- 
jects that  have  been  made  to  date  is 
"Audioscopics,"  which  is  reported  to  have 
grossed  a  quarter  of  a  million  dollars. 
And  that,  I  am  sure  my  readers  will  bear 
me  witness,  is  quite  a  bit  of  grossing 
for  a  single  reel. 

Incidentally  "Audioscopics  No.  2" 
opened  early  in  April,  and  from  initial 
showings  indicates  a  reception  as  cordiul 
as  that  of  its  namesake. 

Eighteen  pictures  were  made  in  the 
last  season,  but  it  is  probable  the  output 
of  the  Pete  Smith  Shorts  will  be  cut  to 
thirteen  in  order  to  lighten  the  personal 
strain  on  the  producer-commentator. 
W'hen  the  short  department  was  started 
in  1931  the  only  product  was  the  Smith 
shorts.  For  the  current  year  the  entire 
output  will  be  94  pictures. 

Fascinating  Work 

The  life  of  these  Pete  Smith  Shoits 
is  approximately  two  years.  This  is  due 
partly  to  the  restricted  opportunities  for 
shorter  material  bv  reason  of  double 
bills. 

The  commentator  admits  he  finds  an 
abundance  of  fascination  in  his  work,  the 
chai-acter  of  which  rests  in  his  own 
discretion. 

"There's  always  something  new,"  he 
said,  "in  this  work  of  which  one  seems 
never  to  tire.  Of  course,  I  hunt  for 
variety.  Among  the  subjects  always  on 
tap  are  sports,  novelties,  nature  studies, 
animals,  dramas,  scientific  subjects, 
radium,  bugs,  life  of  raccoon,  anesthetics, 
candid  camera  craze,  third  dimension  and 
mountain  climbing.  It's  all  a  liberal 
education. 

"Dog  stories  have  i-are  appeal,"  the 


May,  1938      •      American  Cinematogeiapher  183 


producer  went  on.  "There  are  two  or 
three  dogs  in  every  one  of  my  yearly 
programs.  But  of  course  again  we  come 
back  to  variety.  There  are  ideas  in  every 
block.  The  great  trouble  is  the  execution. 
In  most  cases  there  only  is  enough  ma- 


terial for  a  couple  of  hundred  feet.  Then 
they  peter  out. 

"I  tried  so  many  years  to  sell  pictures 
through  exploitation  angles  that  I  fuss 
around  when  planning  a  story  until  I 
get  one.  And  from  the  responses  we  re- 


ceive from  all  over  the  world  regarding 
subjects  we  have  carried  to  them  in  these 
shorts  we  find  reason  to  believe  we  have 
not  entirely  failed*  in  getting  attention — 
and  arousing  interest." 

G.  B. 


Halkr  fVins  Critics '  Award  for 
Best  Photography  During  March 

Cinematographer  on  ''Jezebel"  Throug-h  His  Mastery  of 
Lighting-  and  His  Cameracraft  Markedly  Helps  in 
Bringing  Recognition  by  Press  and  Public  of 
Picture's  Dramatic  and  Spectacular  Rank 


FOR  his  studied  and  sterling  camera 
work  in  Warner  Brothers'  "Jezebel" 
Ernie  Haller,  A.S.C.,  has  been  given 
the  palm  for  photographic  heights  in  the 
March  releases.  The  judges  were  the 
hundred  or  more  prominent  reviewers  in 
the  Hollywood  sector. 

Not  only  did  they  give  their  decisions 
to  the  cameraman  but  they  gave  it  like- 
wise to  Bette  Davis  for  her  remarkably 
intelligent  performance  as  the  leading 
woman  in  that  great  screen  story. 

For  his  faithful  transfer  to  the  film 
of  the  high  lights  of  the  actress's  por- 
trayal of  her  part — of  her  gayety,  of  her 
gentler  moods,  of  her  contrasting  con- 
tempt for  the  opinions  of  those  who  saw 
life  and  the  world  through  glasses  en- 
tirely foreign  to  hers;  for  those  flashes 
of  the  feminine  tyrant  turned  to  a 
humbled  woman  begging  on  her  knees 
for  the  love  of  the  man  she  had  humili- 
ated— for  the  dozens  of  varying  shades 
of  femininity — in  all  of  these  the  camera- 
man was  a  part. 

"Jezebel"  is  a  story  which  could  be 
told  almost  in  pantomime,  given  the 
revelatory  illumination  of  the  players' 
faces  as  they  were  photographed  by  Hal- 
ler. "Jezebel"  is  a  great  picture  that  had 
been  given  a  great  cameraman  to  trans- 
late it — even  as  it  would  have  been  a  far 
lesser  one  in  the  hands  of  a  photographer 
who  had  not  yet  reached  his  full  stature. 
Dramatic  Moments 
There  are  dozens  of  dramatic  spots 
where  the  spectator  sits  suspended  as  if 
a  member  of  the  immediate  party  look- 
ing on.  Take  for  one  example  where 
Bette  after  embracing  the  man  she  had 
declared  would  be  her  bridegroom  follow- 
ing his  year's  absence  in  the  North  sud- 
denly is  introduced  by  the  sadly  harassed 
male  to  his  Northern  bride. 

It  is  a  moment  of  pain  to  all — to  the 
man  away  back  in  the  gallery  as  well  as 
to  those  in  the  immediate  party — but  the 
lighting  never  leaves  those  tense  faces. 


By  GEORGE  BLAISDELL 

Another  sequence  is  that  where  the 
proscribed  red  dress  is  boldly  worn  on  to 
the  dance  floor  to  the  consternation  of 
the  entire  gathering. 

If  one  be  seeking  a  screen  drama  in 
which  is  emphasized  the  importance  of 
the  cameraman  and  his  lights  he  need 
search  no  further  after  finding  "Jezebel."' 
If  one  be  seeking  an  exemplification  of 
the  truism  that  genius  is  merely  a  capac- 


Ernest  Haller,  A.S.C. 


ity  for  taking  infinite  pains  he  may  find 
it  in  the  careful  lighting  of  sets  that 
are  particularly  intricate  in  their  com- 
position and  in  the  difficulties  they 
present  to  the  photographer. 

"Jezebel"  undoubtedly  and  admittedly 
is  a  great  picture.  But  it  is  a  much 
greater  picture  by  reason  of  what  has 
been  freely  given  to  it  by  its  photog- 
rapher. It  is  in  instances  like  the  one 
under  discussion  where  the  cameraman 
rates  on  the  same  plane  as  do  those  in 
the  highest  brackets  in  the  production. 
Long  Preparation 

Ernie  Haller  has  traveled  a  long  road 
preparing  for  his  assignment  on  "Jeze- 
bel." He  has  been  around  pictures  since 
he  was  eight  years  old.  That  was  right 
in  his  native  Hollywood  in  1903.  Later 
he  was  a  child  actor  in  D.  W.  Griffith's 
"Old  Heidelberg." 

It  was  on  the  Biograph  lot  when  he 
was  approaching  his  eighteenth  birthday 
that  Haller  secured  a  place  as  an  assist- 
ant cameraman.  In  six  months  he  was 
shooting  first  camera  on  the  same  lot. 

Btit  between  that  and  his  appearance 
in  "Old  Heidelberg"  much  water  had 
gone  under  the  bridge.  From  his  first  kid 
roles  in  Pathe  Westerns  the  lad  Haller 
has  been  a  bug  on  photography.  He  dug 
into  it  in  school,  and  for  that  matter 
ho  still  is  digging. 

While  attending  high  school  in  Holly- 
wood he  took  courses  in  photography,  in 
architecture  and  in  salesmanship.  On  his 
graduation  from  high  school  he  got  a 
job  as  draughtsman,  but  the  making  of 
blueprints  did  not  hold  for  him  the  allure 
that  still  lingered  from  his  experience 
in  the  studios.  It  was  from  here  he  went 
to  Biograph. 

Goes  to  Kalem 
There  has  been  much  traveling  in  the 
twenty  odd  years.  In  1915  Haller  was 
doing  two-reelers  at  the  studio  of  Amer- 
ican Biograph,  in  Pico  and  Georgia 
Streets,  Los  Angeles.  For  that  matter  a 


184     American  Cinematographer     •      May,  1938 


Scene  from  Warners'  "Jezebel,"  in  ivliich  Henry  Fonda,  stricken  by  yellow  fever, 
is  aided  by  Donald  Crisp  as  others  in  barroom  stay  away.  Pioduction  photographed 

by  El-nest  Haller,  A.S.C. 


great  majority  of  cameramen  were  mak- 
ing two-reelers  then. 

It  was  in  1915  the  members  of  the 
Motion  Picture  Patents  Company  began 
to  disintegrate.  These  were  the  com- 
panies that  for  a  few  years  had  held  the 
reins  in  the  making  of  pictures  in  the 
United  States.  In  that  year  V-L-S-E  was 
in  business — a  distributing  combination 
of  Vitagraph,  Lubin,  Selig  and  Edison. 

Goes  to  Kalem 

When  Biograph  quit  Haller  went  to 
Kalem,  which  company  like  the  others 
did  not  seem  to  be  so  successful  with  the 
longer,  the  "feature,"'  subjects.  Neverthe- 
less the  men  who  had  founded  it  and 
carried  it  along,  had  been  probably  the 
first  ever  to  send  a  motion  picture  troupe 
across  the  water,  had  made  fortunes — 
and  they  still  had  them  when  they  retired 
from  pictures  and  took  their  company 
with  them. 

The  young  cameraman  was  with  Vita- 
graph  in  its  final  production  phase  and 
then  went  to  Santa  Barbara,  to  the  pic- 
turesque studios  of  the  American  com- 
pany. In  191.5,  just  before  his  arirval,  this 
writer  remembers  Jim  Cruze  directing 
the  serial  "Diamond  from  the  Sky."  The 
leading  man  in  that  serial  was  a  hand- 
some youngster  named  Irving  Cummings, 
whose  chief  recreation  before  sunrise  was 
scaring  the  wits  out  of  his  friends  pilot- 
ing them  through  the  streets  of  that 
exclusive  town  at  sixty  miles  an  hour  in 
a  new  racing  machine,  "just  to  keep  the 
cop  awake."  But  we  are  wandering. 

The  young  Hollywood  cameraman  Hal- 
ler was  yearning  for  wider  fields.  Where 
some  of  the  Eastern  photographers  were 
following  the  advice  of  Horace  Greeley 
Haller  had  a  yen  to  see  the  big  town. 


He  was  engaged  by  Paramount  to  put 
on  film  the  Elinor  Glyn  tale  "The  Career 
of  Katherine  Brush,"  with  Catherine 
Calvert  in  the  leading  part. 

Assigned  to  Europe 

His  days  in  New  York  were  busy  ones, 
assignments  alternating  between  Norma 
Talmadge  and  Mae  Murray,  top  names 
in  those  days.  Then  in  1921  with  a 
camera  crew  he  was  sent  to  Europe  by 
Fox.  To  a  man  who  from  his  school  days 
had  been  interested  in  painting  and  etch- 
ing as  well  as  his  prepaiatory  work  in 
the  field  of  architecture  the  assignment 
was  one  that  meant  much  to  Haller. 

The  foreign  studios  in  those  days  Oy 
comparison  with  today  bulked  bigger  in 
a  world  industry  way.  There  was  much 
in  and  about  them  to  attract  the  young 
American.  The  native  and  professional 
interest  in  composition  and  balance  and 
all  that  goes  to  make  a  picture  were 
sharpened  and  his  knowledge  was  ma- 
tured by  what  he  found  in  the  great  art 
galleries. 

The  object  of  the  tour  was  to  photo- 
graph "The  Shepherd  King,"  with  Violet 
Mersereau  in  the  leading  role  supported 
by  an  Italian  cast.  The  budget  exceeded 
a  million  dollars,  and  in  the  course  of 
its  spending  the  cameraman  journeyed  to 
Palestine,  Egypt  and  Spain,  with  Rome 
serving  as  the  pivotal  center.  Before 
coming  home  in  1922  there  were  visits 
to  all  the  capitals. 

Does  'Stella  Dallas' 

In  New  York  on  his  return  Haller 
photographed  Elsie  Ferguson  for  Para- 
mount as  well  as  Rudolph  Valentino. 
There  were  other  assignments  with 
Norma  Talmadge,  Mae  Murray  and 
Pauline  Stark. 


Back  in  Hollywood  the  cameraman 
was  engaged  by  FBO,  the  forerunner  of 
what  now  is  RKO,  almost  on  the  site 
where  once  he  had  gone  to  school.  Here, 
too,  he  rubbed  elbows  with  a  former 
associate  in  the  office  of  the  architect, 
only  Al  Santell  had  settled  into  the 
groove  of  a  director.  Afterward  Haller 
went  to  Samuel  Goldwyn's,  where  he 
photographed  the  silent  "Stella  Dallas." 

Then  through  his  return  east  in  1925 
to  join  Producer  Robert  Kane  the  camera- 
man became  a  part  of  F'irst  National. 
With  the  exception  of  four  pictures  made 
for  Paramount  the  alliance  with  First 
National  has  continued  through  the  ab- 
sorption of  that  organization  by  Warners 
right  to  the  present  day. 

Many  will  recall  "The  Dawn  Patrol," 
directed  by  Howard  Hawks  and  featur- 
ing Richard  Baithelmess.  The  action 
shots  were  Haller's.  In  "The  Great  Gar- 
rick"  there  were  problems  by  reason  of 
alternating  huge  indoor  and  outdoor 
scenes  and  the  lighting  of  which  it  was 
necessary  very  closely  to  match. 

In  one  instance  when  it  became  essen- 
tial to  make  exterior  shots  of  a  player 
whose  age  exceeded  that  of  the  years  of 
the  character  interpreted  Haller  devised 
an  expedient  whereby  he  used  a  diffuser 
or  canopy  over  the  woman's  head,  thus 
keeping  direct  rays  of  sunlight  from 
hitting  the  features.  Sometimes  the  star 
and  the  camera  crew  were  gathered  in 
the  little  "lighting  box,'"  but  the  device 
stopped  and  killed  the  stray  light. 

For  several  years  the  cameraman  has 
been  experimenting  with  infra-red  film, 
by  means  of  which  shots  in  daylight 
have  the  illusion  of  night  scenes.  He  first 
used  it  in  a  sequence  or  two  in  "The 
Captain's  Kid."  In  the  following  "Moun- 
tain Justice"  infra-red  was  employed  to 
large  extent,  thereby  saving  money  and 
avoiding  the  inconveniences  and  sharp- 
ened tempers  that  accompany  night  work 
— and  incidentally  lessening  the  budget. 
The  use  of  infra-red  no  longer  is  a 
novelty. 

Careful  Rehearsal 

When  the  cameraman  was  asked  re- 
garding the  production  of  "Jezebel,"  con- 
ceivably one  presenting  problems  to  a 
director  as  well  as  to  a  photographer,  he 
commented  on  the  fact  that  Director 
William  Weyler  had  carefully  rehearsed 
the  story  with  all  the  principal  players. 

"In  the  course  of  those  rehearsals  was 
where  I  came  in,'"  commented  the  cam- 
eraman. "When  the  players  enacted  those 
scenes  it  gave  me  an  opportunity  to 
study  how  best  to  get  the  details  on  the 
screen.  Sometimes  you  hear  of  a  single 
scene  being  taken  many  times,  for  one 
reason  or  another.  You  know  while  every 
added  portrayal  may  give  the  director 
an  added  thought  how  best  to  get  over 
some  important  incident  the  cameraman 
may  be  right  there  with  him  or  perhaps 
sometimes  a  jump  ahead  of  him  in  alter- 
ing his  own  preconceived  routine. 

"So  far  as  'Jezebel'  is  concerned,  when 
those  players  went  into  that  portrayal 
they  knew  what  it  was  all  about — I  think 
we  all  did — and  the  verdict  of  the  critics 
(Continued  on  Page  220) 


May,  1938 


American  Cinematographer  185 


Milner,  Re-elected  A.  S.  C,  Head, 
Pledges  Co-operation  To  Industry 


A  T  the  April  meeting  of  the  Ameri- 
/A  can  Society  of  Cinematographers 
Board  of  Governors  Victor  Milner 
was  re-elected  president  of  the  society. 
Other  officers  elected  were  George  Fol- 
sey,  first  vice-president;  Charles  B. 
Lang,  Jr.,  second  vice-president;  Arthur 
Edeson,  third  vice-pi-esident;  Fred  W. 
Jackman,  treasurer;  Frank  B.  Good, 
secretary;  Frederick  L.  Kley,  executive 
vice-president. 

The  latter  office  is  a  new  one  created 
at  the  meeting.  The  reasons  underlying 
the  action  were  explained  by  the  presi- 
dent in  a  statement  of  general  policy  pre- 
pared for  the  Cinematographer,  which 
is  as  follows: 

"I  accept  the  presidency  of  the 
A.S.C.,"  said  President  Milner,  "with 
a  full  sense  of  its  responsibility. 

"The  depression  now  affecting  the  in- 
dustry raises  many  problems  for  cine- 
matographers. I  cannot  promise  to  solve 
all  of  them,  for  many  are  rooted  in  con- 
ditions affecting  the  industry  as  a  whole. 
But  I  can  pledge  myself  to  attack  those 
with  which  we  as  a  group  can  deal  di- 
rectly, and  to  cooperate  with  the  rest 
of  the  industry  in  working  with  the 
broader  ones. 

"I  recognize  that  the  most  important 
of  these  problems  is  that  of  unemploy- 
ment. It  is  a  peculiar  fact  that  the  less 
constantly  employed  of  our  group  in 
times  like  this  constitute  a  numerical 
majority  while  the  more  constantly  em- 
ployed individuals  constitute,  by  vote  of 
their  fellows,  a  governing  minority.  This 
situation  must  not  and  will  not  blind  us 
to  the  seriousness  of  the  unemployment 
problem. 

Relations  Inspiring 

"Neither  the  A.S.C.  nor  any  employee 
group  can  create  work.  That  can  only 
be  done  by  the  employers  who  are  in 
turn  governed  by  national  and  world 
conditions  affecting  their  business.  But 
we  can  try  to  plan  for  a  wider  distribu- 
tion of  work.  The  problem  is  not  easy 
to  solve,  but  we  are  facing  it  squarely 
and  trying  to  find  the  answer  that  will 
most  benefit  the  majority. 

"Another  important  problem  which 
has  become  most  important  lately  is  that 
of  the  importation  of  foreign  talent.  We 
do  not  wish  to  work  any  injustice  on 
any  of  our  foreign  colleagues.  But  still 
less  can  we  afford  to  see  any  hardship 
worked  on  any  members  of  our  own 
group.  As  this  is  written  I  can  say  that 
negotiations  are  under  way  which  by  the 
time  this  is  published  should  have  set- 
tled this  question  permanently  and  suc- 
cessfully. 

"In    this    connection    I    would  like 


frankly  to  set  forth  my  policy  as  regards 
the  society's  relations  with  all  other 
groups  within  the  industiy.  I  believe  it 
is  the  society's  duty  to  afford  all  reason- 
able cooperation  to  every  other  group 
both  of  employees  and  employers. 

"I  want  to  say  sincerely  that  during 
the  past  year  the  society's  relations  with 
all  of  the  industr-y's  various  organiza- 
tions including  both  producers  and  the 
several  guilds  and  unions  of  artists  and 
technicians  have  been  inspiring. 

"Several  important  problems  have 
come  up  and  in  spite  of  natural  differ- 
ences of  opinion  have  been  settled  satis- 
factorily. We  have  proved  that  co- 
operation does  not  have  to  mean  sacrifice 
of  any  group's  basic  rights.  I  certainly 
would  not  permit  it  to  if  in  my  power 
to  prevent. 

"In  this  I  am  confident  that  I  have 
the  new  officers  and  Board  of  Governors 
squarely  behind  me.  I  would  like  to  re- 
mind the  members  that  service  on  this 
board  involves  a  great  deal  of  personal 


BELL  &  HOWELL 

STEP  P1I[RS 

Retrieved  from  Extinct 
Laboratory 

Ideal  for  making  lavender 
prints — duplicate  negatives 
— background  process  plates 
— color  printing — any  print- 
ing job  requiring  perfect  reg- 
istration— at  the  greatly  re- 
duced price  of 

$900.00  Each 

BELL  &  HOWELL 
COMPANY 

1801  Larchmont  Avenue 
Chicago,  Illinois 


effort  and  often  inconvenience  for  which 
there  is  no  direct  or  indirect  compensa- 
tion. 

"No  salary  is  attached  to  any  of  these 
offices.  Moreover,  I  do  not  believe  any 
member  of  the  board  has  or  would  use 
his  office  selfishly  to  further  his  per- 
sonal interests.  The  spirit  of  the  board 
is  such  that  I  am  confident  it  would 
never  be  permitted  to  happen. 

Executive  Office  Created 

"The  recent  creation  of  the  office  of 
executive  vice-president  to  which  the 
society's  manager,  Frederick  L.  Kley, 
has  been  appointed,  has  been  a  necessary 
and  constructive  step.  Centralizing  the 
business  management  of  the  society,  it 
makes  for  greater  efficiency  in  handling 
the  society's  business. 

"It  also  is  conceivable  that  in  the 
course  of  the  society's  relations  with  the 
producers  situations  might  arise  which 
would  have  to  be  dealt  with  in  such  a 
manner  that  it  would  hardly  be  fair  to 
delegate  to  any  member  of  the  society 
this  responsibility,  which  in  some  cases 
might  prejudice  his  professional  pros- 
pects. This  in  all  fairness  can  only  be 
done  by  one  whose  sole  duty  is  fearlessly 
and  actively  to  represent  the  organiza- 
tion. 

"This  does  not  mean  we  anticipate 
such  situations.  On  the  contrary  our 
relations  with  the  producers  have  been 
and  are  most  friendly  and  cooperative. 
We  are,  in  fact,  now  conducting  nego- 
tiations which  further  will  improve  the 
working  conditions  of  cinematographers. 

"In  closing  I  want  to  state  this  as  the 
keynote  of  my  policy.  The  A.S.C.  as  I 
see  it  is  an  instrument  for  advancing 
the  interests  of  its  members.  It  can 
not  and  it  will  not  be  used  solely  for  the 
benefit  of  any  group  or  clique.  We  aim 
to  see  the  problems  of  the  whole  profes- 
sion and  face  thein  squarely,  and  to  try 
and  solve  them  not  merely  for  the  benefit 
of  the  group  which  is  working  nor  for 
the  group  the  members  of  which  un- 
fortunately are  not  working  but  for  all 
dii'ectors  of  photography  together. 

"In  this  we  need  the  active  support 
of  all  the  members.  During  the  last 
year  both  former  President  Arnold  and 
I  enjoyed  this  support  to  a  remarkable 
extent,  and  I  am  confident  it  still  con- 
tinues." 

The  Board  of  Directors  for  the  com- 
ing year  will  be:  John  Arnold,  John  W. 
Boyle,  Arthur  Edeson,  George  Folsey, 
Alfred  Gilks,  Frank  B.  Good,  Fred  W. 
Jackman,  Ray  June,  Chas.  B.  Lang,  ix., 
Victor  Milner,  Hal  Mohr,  Charles  Ro- 
sher,  Ted  Tetzlaff,  James  VanTrees,  and 
Joseph  Walker. 


186     American  Cinematographer     •     May,  1938 


CAPACITY  PERFORMANCES  BENEFIT  THE  STUDIO 
AS  WELL  AS  THE  THEATER 

The  stuflio,  as  well  as  the  local  theater,  gains  profit  and  prestige  from  increased  attendance.  An  important 
factor  in  building  theater  patronage  is  better  projection.  Here  is  a  reproduction  of  the  current  trade  journal  ad- 
vertisement in  the  campaign  for  improved  motion  picture  presentation. — NATIONAL  CARBON  CO.,  INC. 


May,  1938     •     American  Cinematographer  187 


V alentine  'fp^ings  Over  Honolulu ' 
Rated  One  of  Three  in  Year's  Best 


Joseph  Valentine,  A.S.C. 


WHEN  several  hundred  members 
of  the  Academy  examined  the 
ten  best  pictures  for  a  selection 
of  the  three  tops  from  which  in  turn 
would  be  elected  the  winner  of  the 
annual  photographic  emblem  Joseph 
Valentine,  A.S.C,  was  named  along  with 
Universal's  "Wings  Over  Honolulu"  as 
one  of  the  trio. 

Valentine  is  one  of  the  younger  cam- 
eramen, but  his  progress  in  the  preced- 


ing half  dozen  years  has  been  rapid.  His 
first  work  around  the  camera  was  in 
Foit  Lee,  N.  J.,  the  early  home  of  many 
Eastern  producers  not  at  that  time  en- 
tirely converted  to  the  belief  that  Cali- 
fornia after  all  was  the  place,  especially 
in  the  summer,  to  make  motion  pictures. 

He  was  sixteen  years  old  when  he 
was  introduced  to  film  and  lens  in  the 
usual  all-around  capacity  of  assistant 
and  with  gradually  increasing  opportuni- 
ties to  operate  a  camera  himself.  He 
worked  at  the  old  Paragon  Studio  in 
Fort  Lee  and  for  Selznick  in  the  same 
town  as  well  as  at  the  Hearst  Interna- 
tional Studio  in  129th  street  in  Harlem. 

In  1923  Valentine  came  to  California 
for  William  Fox.  Just  turned  twenty 
years,  he  began  shooting  first  camera 
with  the  Shirley  Mason  company.  With 
F'ox  he  remained  eleven  years. 

One  Year  Abroad 

By  that  company  he  was  sent  abroad 
to  photograph  backgrounds  or  whatever 
his  fancy  dictated.  For  a  year,  starting 
in  1932,  he  toured  England,  Scotland  and 
Ireland  and  all  of  Continental  Europe. 
It  was  a  rich  experience. 

He  studied  the  people  and  their  cus- 
toms and  devoted  a  great  deal  of  his 


spare  time  to  the  art  centers,  where  he 
absorbed  much  of  what  the  Old  Masters 
had  to  tell  the  young  cameramen  of 
later  centuries  what  they  had  acquired 
in  the  way  of  lighting. 

Certainly  in  his  work  in  "Wings  Over 
Honolulu"  he  demonstrated  a  flair  for 
planting  his  lights — or  rather  a  devel- 
oped capacity  for  that  delicate  touch — 
for  to  the  heights  in  the  realm  of  light- 
ing like  in  that  of  other  handiwork  that 
is  creative  there  is  no  royal  road. 

Among  the  more  recent  work  of  Val- 
entine with  the  Fox  company  was  pho- 
tographing Will  Rogers  in  "Doubting 
Thomas."  Then  there  was  "Gay  Decep- 
tion," with  Francis  Lederer  and  Frances 
Dee,  under  the  direction  of  William 
Wyler. 

For  eleven  months  after  leaving  Fox 
the  cameraman  was  at  MGM.  Three 
years  ago  in  March  he  joined  Universal. 
He  photographed  among  other  stars 
Margaret  Sullavan  in  "Next  Time  We 
Love"  under  the  direction  of  E.  H.  Grif- 
fith. When  Miss  Sullavan  was  loaned 
to  Walter  Wanger  for  "The  Moon's  Our 
Home"  the  cameraman  was  loaned  by 
Universal  to  photograph  her. 

More  recently  Valentine  has  super- 
(Continued  on  Page  310) 


Scene  from 
Universal' !i 
"Wings  Over 
Honolulu," 
photographic 
direction  of 
which  was  by 
Joseph  Valentine, 
A.S.C. 
Production  one 
of  three 
selected  by 
technicians  of 
Academy  for 
best  pliotocjraphy 
for  19.17.  Still 
photographed  by 
Sherman  Clark 


188     American  Cinematographer      •      May,  1938 


Arnold  Devises  Semi- Automatic 
Follow- Focus  Finder  For  Camera 


AMONG  the  more  notable  cinemat- 
ographic advances  recognized  in 
^the  1937  scientific  awards  of  the 
Academy  of  Motion  Picture  Arts  and 
Sciences  was  a  semi-automatic  follow- 
focus  finder  devised  by  John  Arnold, 
former  president  of  the  American  Society 
of  Cinematographers  and  executive  direc- 
tor of  photography  for  the  Metro-Gold- 
wyn-Mayer  Studio. 

This  device  solves  what  has  since  the 
introduction  of  sound  been  one  of  the 
most  troublesome  technical  problems  per- 
plexing cinematographers. 

The  importance  of  this  new  device  is 
well  brought  out  by  the  Academy's  cita- 
tion, giving  an  award  in  Class  III  .  .  . 
"To:  John  Arnold  and  the  Metro-Gold- 
wyn-Mayer  Camera  Department  for  their 
improvement  of  the  semi-automatic  fol- 
low-focus  device  and  its  application  to 
all  of  the  cameras  used  by  the  Metro- 
Goldwyn-Mayer  Studios." 

The  citation  states:  "This  device  facili- 
tates camera  operation  by  correlating  the 
focusing  of  the  shooting  lens  and  finder 
lens  and  simultaneously  correcting  for 
parallax,  with  such  precision  that  the 
position  and  sharpness  of  focus  in  the 
finder  may  be  relied  upon  to  indicate  cor- 
responding properties  in  the  photographic 


By  WILLIAM  STULL,  A.S.C. 

image,  thereby  materially  increasing  the 
speed  and  accuracy  of  production  photog- 
raphy, paiticularly  in  follow  focus  shots." 
Sound  Brings  Change 

Before  the  coming  of  sound,  neither 
the  matter  of  finder  parallax  nor  that  of 
following  focus  could  be  considered  of 
major  importance. 

Finders  were  placed  very  close  to  the 
photographing  lens,  reducing  parallax  to 
the  minimum,  and  as  moving-camera 
shots  were  seldom  made,  finder  parallax 
could  easily  be  compensated  by  setting 
the  finder  according  to  a  pre-calibrated 
scale,  or  by  checking  the  angles  of  the 
finder  image  against  that  seen  on  the 
ground  glass. 

The  technique  of  the  day  also  required 
little  or  no  following  of  focus. 

With  the  advent  of  sound,  cameras 
were  placed  in  relatively  large,  sound- 
proof blimps.  This  necessitated  either  in- 
closing the  finder  with  the  camera, 
thereby  restricting  the  operator's  free- 
dom) in  viewing  the  finder  image,  or 
placing  the  finder  outside  the  blimp,  at 
a  considerable  distance  from  the  camera 
lens,  inevitably  increasing  the  problem 
of  finder  parallax  to  a  high  degree. 

At  the  same  time,  the  moving  camera 
and  other  modern  techniques  made  fol- 


lowing focus  a  factor  in  a  majority  of 
the  shots  made. 

To  solve  these  problems,  Arnold  and 
his  staff  started  work  on  this  present 
invention  as  long  ago  as  1932.  Their 
goal,  which  they  consider  only  partly 
attained,  even  now,  was  a  finder  so  com- 
pletely accurate  that  it  would  at  all  times 
give  the  operator  a  perfectly  accurate 
replica  of  the  image  being  photographed 
by  his  camera:  reproducing  in  detail  the 
focal  setting  and  angular  field  of  the 
lens,  and  naturally  eliminating  entirely 
the  eriors  of  finder  parallax. 

Difficult  Problem 

Conventional  practice  revealed  plenty 
of  methods  by  which  a  finder  could  be 
pivoted  to  correct  for  parallax,  making 
its  field  of  view  coincide  with  that  of 
the  camera  lens.  Similarly,  it  was  easy 
to  design  a  finder  the  lens  of  which 
could,  like  the  camera  lens,  be  focused. 

But  to  interlock  these  with  the  actual 
focusing  of  the  camera  lens  was  a  diffi- 
cult problem — especially  since  it  was 
desired  to  make  the  finder  equally  accu- 
rate for  lenses  of  all  the  many  focal 
lengths  commonly  used. 

The  answer  was  found  in  the  use  o.f 
precision-made  cams.  Since,  with  the  ex- 
ception of  the  somewhat  infrequent  use 
of  wide-angle  24mm.  lenses,  when  a  sup- 
plementary objective  is  used  to  widen  the 
finder's  angular  field,  the  same  lens  is  at 
all  times  used  in  the  finder,  it  was  not 
difficult  to  interlock  the  focusing  of  the 
finder  lens  with  the  parallax-correcting 
pivoting  of  the  finder  itself. 

Interlocking  these  movements  with  the 
focusing  of  the  photographing  lens  is 
achieved  by  the  use  of  a  simple  cam-and- 
roller  linkage. 

Cams  Are  Matched 

Following  a  common  practice,  the 
mount  of  the  cameia  lens  is  fitted  with 
gear-teeth  cut  to  a  special  40-pitch  tooth 
to  eliminate  backlash.  These  mesh  with 
the  conventional  train  of  gears  which 
connect  it  with  the  focusing  control  out- 
side the  blimp.  They  also  mesh  with  a 
second  gear  train  which  transmits  the 
necessary  pivoting  movement  to  the 
finder. 

The  action  of  the  finder  is  governed 
by  the  use  of  interchangeable  cams,  each 
ground  to  the  precise  curvature  whicli 
matches  the  characteristics  of  a  given 
lens.  These  cams  are  of  hardened  tool 
steel,  and  fit  rigidly  into  their  mounts, 
being  held  in  position  by  dowel-pins  and 
spring  fastening-clips.  It  is  impossible 
to  put  them  inaccurately  into  place. 

"The  cams  are  matched,  not  merely  to 


The  Hc.mi-aiitorruitic  follow-focnH  finder  an  iiHcd  on  MGM  cameras 


May,  1938      •     American  Cinematographer  189 


IVadley  and  Ray  ton  Discover 
Their  Geometry  Quite  the  Same 


the  general  characteristics  of  all  lenses 
of  given  focal  length,  but  to  the  precise 
characteristics  of  an  individual  lens.  Lens 
and  finder-cam  form  a  fixed  combination 
in  any  camera's  accessory  equipment. 

A  further  refinement  is  the  fact  that 
the  focusing  threads  on  the  mounts  of 
lenses  of  different  foci  are  cut  to  differing 
pitches  according  to  the  characteristics 
of  the  lens.  Thus  over  the  range  of  set- 
tings between  infinity  and  two  feet,  a 
24mm.  lens  requires  less  than  half  a 
revolution  of  the  controlling  handle,  while 
over  the  same  range  a  \Vi  inch  lens  re- 
quires over  a  full  revolution  of  the 
handle. 

The  scales  for  all  commonly  used  lenses 
are  permanently  engraved  on  a  single 
focusing  dial,  and  a  movable  indicator 
on  the  controlling  handle  obscures  all 
but  the  calibrations  for  the  lens  being 
used. 

Whenever  lenses  are  removed  from  the 
camera  or  put  into  place,  lens,  focusing 
and  finder  mechanisms  must  all  be 
brought  to  a  marked  neutral  point  before 
the  lens  can  be  removed  or  inserted. 
When  the  finder  cam  is  snapped  into 
place,  lens,  focus-control  and  finder  form 
a  single  mechanical  unit,  and  operate  in 
exact  synchronism. 

Simplifies  Checking 

It  is  therefore  possible  for  the  cinema- 
tographer to  check  the  focus  of  his  lens 
without  either  opening  his  blimp  or  rack- 
ing over  his  camera,  simply  by  observing 
the  focus  of  his  finder  image,  or  even 
noting  whether  or  not  the  finder  is 
centered  on  the  object  or  plane  upon 
which  it  is  desired  to  focus.  All  thought 
of  finder  parallax  errors  is  completely 
eliminated. 

The  assurance  this  gives  in  the  making 
of  moving-camera  and  follow-focus  shots 
may  easily  be  imagined.  The  operative, 
simply  from  what  he  has  seen  in  his 
finder  during  the  take,  knows  whether  or 
not  his  picture  will  be  correctly  framed 
and  focused.  Such  assurance  can  often 
pay  big  returns  in  instances  where  speedy 
production  is  important. 

Incidental  to  the  development  of  this 
finder  mechanism,  several  optical  im- 
provements have  been  made  in  the  finder 
itself.  The  finder  lens,  for.,  instance,  i;5. 
not  focused  by  a  rotating  in-and-out 
movement,  but  by  moving  the  len.s 
straight  in  or  out.  The  prisms  and  other 
optical  elements  of  the  finder  have  been 
refined  to  give  a  considerable  increase 
in  illumination. 

All  of  the  design,  optical  and  mechan- 
ical work  was  performed  in  the  Metro- 
Goldwyn-Mayer  studio  shops,  under 
Arnold's  direction.  The  device  has  been 
applied  to  all  of  the  studio's  forty-odd 
production  cameras,  and  is  regarded  as 
standard  equipment.  When  it  is  con- 
sidered that  each  finder  and  its  cams 
must  be  individually  coordinated  with  the 
camera  and  lenses  with  which  it  is  used, 
and  to  so  high  a  degree  of  optical  and 
mechanical  precision,  the  magnitude  of 
the  achievement  of  this  inventive  member 
of  the  A.S.C.  can  be  appreciated. 


F.  V.  Wadley 

RANTOUL,  ILLINOIS 

March  19,  1938 
To  the  Editor: 

I  wish  to  point  out  what  I  believe  to 
be  an  error  in  the  following  paragraph 
quoted  from  your  March,  1938,  issue, 
page  124,  in  the  article  on  the  new 
Bausch  &  Lomb  Metrogon  lens: 

"Distortion,  present  in  all  photo 
lenses,  has  been  almost  compltetely 
eliminated  in  the  Metrogon.  This  is 
the  fundamental  lens  aberration  which 
causes  the  weird  elongation  of  faces 
at  the  ends  of  front  rows  in  banquet 
pictures." 

While  the  lens  described  is  no  doubt 
an  excellent  example  of  the  lens-makers' 
art,  the  type  of  distortion  cited  is  in- 
herent and  cannot  be  eliminated  where- 
ever  a  lens  or  other  device  is  employed 
to  delineate  a  three-dimensional  body  on 
a  plane  surface  when  the  body  is  placed 
at  a  large  angle  from  the  imaginary 
perpendicular  to  the  film  plane  at  the 
image  point. 

Distortion  Noticeable 

This  distortion  is  particularly  notice- 
able when  attempting  to  photograph  a 
spheroidal  shape  of  generally  known 
characteristics.  The  figure  inclosed  illus- 
trates this  thought  by  showing  two 
planes  perpendicular  to  each  other  and 
the  image  plane  through  the  lens. 

Orthographic  projections  from  the  di- 
mensions thus  determined  indicate  the 
major  axes  of  the  image,  which  has  been 
roughed  in.  The  image  of  a  perfect 
sphere  photographed  under  the  condi- 
tions would  be  an  ellipse. 

This  lenglhy  dissertation  is  merely  in- 
tended to  correct  a  possibly  editorial  as- 
sumption which,  if  it  were  true,  would 
be  a  tremendous  boon  to  the  group  and 
banquet  photographer. 

F.  V.  Wadley. 


Extend  Congratulations 

PERMIT  me  to  congratulate 
you  on  your  excellent  mag- 
azine, of  which  I  have  been 
an  enthusiastic  reader  for  some 
time.  No  person  using  motion  pic- 
ture equipment  should  be  with- 
out it. 

I  have  been  in  the  movie  busi- 
ness for  a  considerable  time,  work- 
ing in  the  capacities  of  projection- 
ist, theater  manager  and  service 
man.  As  my  hobby  is  16mm.  films 
and  constructing  16mm.  cinema- 
chinery,  I  believe  1  can  be  rated 
as  a  genuine  professional  amateur. 
Frank  R.  McLean,  S.A.C. 

Coulterville,  111.,  April  7. 


Sphere 


Figure  illustrating  distortion  of  spher- 
ical object  lying  at  large  angle  from,  per- 
pendicular to  image  plane  through  image 
— Drawn  by  F.  V.  Wadley,  Rantoul,  III. 

Bausch  &  Lomb  Optical  Co. 
Established  1853 
Rochester,  N.  Y.,  April  6,  1938. 
To  the  Editor: 

Mr.  Wadley  is  right,  of  course.  The 
lens  aberration  called  distortion  would, 
to  be  sure,  result  in  a  slight  distortion 
of  faces  seen  in  the  margin  of  a  group 
picture  but  by  far  the  greater  part  of 
the  effect  generally  observed  in  such 
pictures  is  a  matter  of  perspective. 

Agreement,   Not  Argument 

In  order  that  any  photograph  shall 
reproduce  the  perspective  of  the  object 
space  it  is  necessary  that  it  be  viewed 
from  a  distance  equal  to  the  focal  length 
of  the  taking  lens.  Viewed  from  any 
other  distance  the  perspective  is  wrong. 
If  this  condition  is  met  faces  in  the  mar- 
gins of  group  pictures  assume  their  nat- 
ural proportions  and  the  elliptical  figure 
in  Mr.  Wadley's  drawing  would  appear 
as  a  circle. 

The  press  account  of  the  wide  angle 
lens  which  seems  to  have  been  copied 
verbatim  is  an  example  of  emphasis  on 
the  wrong  thing  such  as  characterizes 
much  newspaper  science. 

I  am  glad  you  gave  us  the  opportunity 
to  see  Mr.  Wadley's  letter  and  to  assure 
him  that  our  geometry  is  the  same  as 
his.  The  letter  is  inclosed  herewith. 

W.  B.  Rayton, 
Scientific  Bureau. 
Bausch  &  Lomb  Optical  Company. 


100     American  Cinematographer 


May,  1938 


WHAT 
ABOUT 
ME? 


By 

BEE  GEE 


Hurrah!  Harry  Hollenberoer  is 
working-  again.  He  gave  tlie  re- 
pression period  a  clip  on  the  chin 
and  joined  the  pay  roll  list  at  Paramount 
studios.  Now  he's  laughing  at  the  recent 
past,  as  everybody  does  when  you  come 
to  think  about  it.  .  .  .  Monogram  signed 
a  deal  with  the  Agfa  for  the  use  of  that 
film  in  its  forthcoming  production.  I  hope 
the  cameramen  will  not  threw  away  all 
of  the  lights  just  because  the  film  is  fast. 
.  .  .  Leo  Tover  and  his  pretty  wife  will 
return  shortly  from  their  New  York 
vacation.  .  .  .  Who  is  the  reviewer  on 
Variety  who  consistently  refuses  to  com- 
ment on  photography?  .  .  .  Tony  Gaudio 
is  using  the  first  of  the  new  series  Mit- 
chell cameras  on  the  "Garden  of  the 
Moon"  for  Warners.  .  .  .  Karl  Freund 
just  signed  a  contract  with  20th.  .  .  . 
The  Preview  Screen  Achievements'  poll 
for  March  gives  the  camera  awards  to 
Ernest  Haller  for  his  work  in  "Jeze- 
bel"; Karl  Freund  took  second  place  for 
"Seven  Seas"  and  Ray  Rennahan  third 
place  for  his  work  in  Paramount's 
"Jungle  Love."  .  .  .  Roy  Hunter  super- 
vises three  technical  groups  at  Para- 
mount as  business  manager.  Gordon 
Jennings  remains  a  chief  on  special 
effects  and  Farciot  Edouart  on  trans- 
parencies. Mel  Stamper  is  Hunter's 
assistant.  .  .  .  The  Scott  Radio  finn 
presented  the  club  with  a  portable 
microphone  ...  by  the  way,  if  you 
want  to  know  anything  about  the  Scott 
Radio  call  John  Arnold  and  he  will 
make  a  special  appointment  with  you 
to  talk  about  it,  as  John  is  a  most  en- 
thusiastic owner.  .  .  .  Lou  O'CoNNELL 
is  taking  his  vacation  early.  He  and  his 
wife  stepped  into  their  new  car  and  are 
touring  Washington.  .  .  Lloyd  Knech- 
TEL  is  shooting  backgrounds  in  Algiers 
and  Algeria  generally  for  Wanger's 
"Algiers."  His  chief  location  is  the  Cas- 
bah,  the  native  quarters  in  Algiers. 
That's  the  same  spot  in  which  John  W. 
Boyle  together  with  Director  Thorn- 
ton Fre£U.and,  also  a  Hollywoodian,  last 
year  put  in  six  strenuous  weeks  prior 
to  moving  into  the  Sahara. 


Bows  and  Rows  From 
The  Press 

state  Police,  Universal — "Harry  Neu- 
mann delivers  a  competent  job  of 
photography." 

Sailing  Along,  Gaumount-British — 
"Glenn  MacWilliams'  photography  is 
above  average." 

The  Overland  Express,  Coronet  Pro- 
ductions —  "Handsomely  photographed 
by  Allen  Q.  Thompson." 

Rascals.  20th — "And  Edward  Cron- 
.iager's  photography  is  handsome,"  and 
"Edward  Cronjager  supplied  excellent 
photography.' 

Little  Miss  Roughneck,  Columbia — 
"Benjamin  Kline's  photography  scores 
asset  in  the  attractive  Wallace  McDon- 
ald production." 

Nurse    From    Brooklyn,  Universal 
"Milton  Krasner  supplies  good  stand- 
ard photography,"  and  "Milton  Kras- 
ner's  photography  makes  the  most  of 
every  pictorial  opportunity." 

Men  are  Such  Fools,  Warners — "Siu 
HicKox's  photography  is  praiseworthy." 

Go  Chase  Yourself,  R-K-0 — "Jack 
Mackenzie's  photography  and  the  spe- 
cial effects  work  of  Vernon  L.  Walker 
are  major  assets,"  and  "Jack  Macken- 
zie's camera  work  is  exceptionally  good." 

Heart  of  Arizona,  Paramount — "Rus- 
sell Harlan's  photography  of  the  su- 
perbly picturesque  desert  locations  is 
something  to  rave  about,"  and  "Russell 
Harlan's  photography  is  more  than 
western  standard." 

Over  the  Wall,  Warners — ".  .  .  work 
of  James  Van  Trees  is  in  keeping  with 
the  general  high  standard  of  the  offer- 
ing." 

Bar  20  Justice,  Paramount  release — 
"Russell  Harlan's  photography  gives 
the  entire  film  pictorial  magTiificence," 
and  "Russell  Harlan's  photography 
adds  to  the  high  quality  of  the  produc- 
tion." 

College  Swing,  Paramount — "Victor 
Milner  handled  his  camera  handsomely," 
and  "Victor  Milner's  camera  makes  it 
all  visually  presentable." 

Test  Pilot,  M-G-M  — "Ray  June's 
photography  is  often  breathtaking,"  and 
"Magnificent  photography  has  been 
achieved  by  Ray  June." 

Stolen  Heaven,  Paramount — "William 
C.  Mellor's  photography  is  first  rate." 


Just  Who's  Who 
On  "Test  Pilot" 

IN  order  that  there  may  be  no  mis- 
understanding— and  in  the  event 
any  exists  it  may  be  corrected  upon 
competent  authority — these  authentic 
credits  are  announced  for  "Test 
Pilot"  (MGM): 

Ray  June,  A.S.C.,  production  cine- 
matography; Harold  Mazorati,  A.S.C., 
projection  process  photography;  Jack 
Smith,  A.S.C.,  photo  aerial"  back- 
grounds; Maximillian  Fabian,  minia- 
ture shots;  Don  Jahraus,  builder  of 
the  excellent  miniatures. 


THE  BERnDT-mnURER  CO  IP. 

117  EAST  24ih  STREET    •    NEW  YORK  CITY 


PREUSIOn 


1        '  . 


oiQiHcd  wiUi  this 


O^dUal  and  tcitiad 

foe  35  mtn.  to  16  tfun. 
sound  a*id  fUUuic 


PRECISIOn 

FILM  LABORATORIES 
A  DIVISION  OF  BERNDT-MAURER  CORP. 

21  WEST  46th  ST.  •  N.  Y.  C. 


May,  1938     •     American  Cinematographer  191 


TOP  STAR 


IN  Eastman  Super  X  Panchromatic  Neg- 
ative, speed,  fine  grain,  and  photographic 
quality  invariably  combine  for  super- 
lative performance.  After  three  full  years 
on  location  and  lot,  Super  X  is  still  the 
top  star  among  motion  picture  negative 
films.  Eastman  Kodak  Company,  Roch- 
ester, N.  Y.  (J.  E.  Brulatour,  Inc.,  Dis- 
tributors, Fort  Lee,  Chicago,  Hollywood.) 


EASTMAN  SUPER  A 

PANCHROMATIC  NEGATIVE 


192     American  Cinematographer 


May,  1938 


and  "William  C.  Mellor's  camera  job 
is  first  rate." 

Four  Men  and  a  Prayer,  20th — 
"Ernest  Palmer's  photography  is  of  the 
best  standard,"  and  "the  camera  work 
of  Ernest  Palmer  is  exceptional." 

Doctor  Rhythm,  Paramount — 
"Charles  Lang  delivers  eyefilling 
photography,"  and  "Technical  contribu- 
tions are  able  in  every  department,  espe- 
cially Charles  Lang's  photography." 

Wide  Open  Faces,  Columbia — "Paul 
C.  Vogel's  photography  is  of  the  best." 

Little  Miss  Thoroughbred,  Warners — 
"L.  William  O'Connell's  photography 
is  worthy  of  note." 

The  Adventures  of  Robin  Hood,  War- 
ners— "Tony  Gaudio  and  Sol  Polito 
rate    highest    praise    for    .superb  color 


AsT  ROp 

LENSES 


1.8 
2.3 


for  sale  by 

Mitchell  Camera  Corporation 

665  North  Robertson  Blvd. 
West  Hollywood,  California 


camera  work,"  and  "Tony  Gaudio 
handled  the  dramatic  material  with 
genius.  W.  Howard  Greene  and  his 
associate,  Morgan  Paueh.ford,  gave  the 
technicolor  camera  job  one  of  its  finest 
exhibitions  in  the  quality  of  lighting 
and  lensing." 


Production  Activity 

At  Columbia,  Allen  SitXiLEK  is  doing 
City  Shadows;  at  M-G-M,  William 
Daniels  finishing  Marie  Antoinette; 
Bob  Pittack  on  shorts;  John  Seitz  do- 
ing Lord  .Jeff;  Joe  Ruttenberg  doing 
Shopworn  Angel;  Ray  June  starting 
Enemy  Territory;  Oliver  Marsh  start- 
ing Stand  Up  and  Fight. 

At  Paramount  Theoik)r  Sparkuhl 
winding  up  the  Texans;  Charles  Lang 
in  the  middle  of  Spawn  of  the  North; 
Kari-  Struss  on  Sing  You  Sinners; 
Harry  Fischbeck  starting  Prison 
Farm;  Victor  Milner  starting  Give  Me 
a  Sailor;  Russell  Harlan  doing  Be- 
neath Western  Skies,  and  Harry  Hollen- 
berger  doing  some  second  unit  work  on 
one  of  the  big  ones. 

Out  at  20th,  Ernie  Palmer  in  the  mid- 
dle of  Three  Blind  Mice;  Edward  Cron- 
JAGER  the  same  distance  on  Hello  Holly- 
wood; LuciEN  Andriot  starting  I'll  Give 


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75  mm,  F2.3  lenses — Mitchell  tripod,  De 
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Leather  covered  carrying  trunk  and  tripod 
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like  new! 

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a  Million;  Robert  Planck  starting  Al- 
ways Goodbye;  ARTHUR  Miller  on 
Lucky  Penny,  and  John  Mescal  start- 
ing My  Lucky  Star. 

Over  at  United  Artist  studios  James 
Wong  Howe  is  doing  Algiers  for  Wan- 
ger. 

Out  at  Universal  Joe  Valentine  fin- 
ishing The  Rage  of  Paris;  Karl  Freund 
in  the  middle  of  Letter  of  Introduction; 
George  Robinson  on  Suspicion;  Harry 
Neumann  doing  Western  Trails. 

At  Warners,  Tony  Gaudio  on  Gar- 
den of  the  Moon ;  Sol  Polito  on  Valley 
of  the  Giants;  Ernest  Haller  has  been 
assigned  to  do  Because  of  Man;  Robert 
Edeson  starts  Racket  Busters. 

Gilbert  Warrenton,  who  has  been 
getting  some  fine  notices  lately  for  his 
photography,  is  starting  Romance  of  the 
Limberlost  for  Monogram. 

T 

Mr.  and  Mrs.  Eddie  Blackburn  re- 
turned from  their  trip  to  the  islands. 
.  .  .  Peter  Shamray  of  the  Dupont 
sales  force  is  cutting  notches  for  himself 
as  a  golfer.  .  .  .W' ell,  my  favorite  Don- 
ald Duck  with  his  quacking  voice  paid 
us  a  visit  at  the  club  as  Greorge  Folsey's 
contribution  to  the  entertainment  of  the 
month  and  brought  along  his  band.  And 
what  a  band !  Those  who  were  fortunate 
enough  to  be  present  are  still  applaud- 
ing. Of  all  the  clever  contraptions  con- 
trapted  to  ruin  the  finest  of  our  musical 
classics.  Maybe  I  shouldn't  say  ruin; 
perhaps  interpret  is  a  better  word.  How- 
ever, the  Duck's  band  proves  that  there 
is  music  in  anything  that  will  make  a 
noise. 


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Panel. 

•  High  Quality  Optical  System. 
Complete,  ready  to  install  $750  net 

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723  Seventh  Avenue,  New  York  City 
Cable  Address:  Soundfllm 


EYEMO 

Filter  Problems  Solved 
ALL  MODEL  EYEMOS  adapted  to 
accommodate  Wra+tan  filter  in  indi- 
vidual metal  holders.  One  filter  serves 
all  lenses. 

Holders     readily  interchangeable. 
Wrattan  filters  easily  replaced. 
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Additional    filter    holders,  - 

each    2.50 

Patents  Pending 

National  Cine  Laboratories 

20-22  West  22nd  St.  New  York  City 


May,  1938 


American  Cinematographer  193 


Seventeen  Years  Ago: 

"Virgil  E.  Miller,  of  the  American 
Society  of  Cimematographers,  is  filming 
Wolf  breed,  starring  Lon  Chaney;  Robert 
Thomby  is  directing.  This  is  a  special 
production  with  many  big  outdoor  scenes 
at  the  filming  of  which  Mr.  Miller  is 
most  expert.  This  is  Mr.  Chaney's  first 
starring  vehicle  with  Universal,  and  in 
the  hands  of  Mr.  Miller  he  is  sure  to  be 
given  a  masterpiece  of  photography." 

"Tony  Gaudio,  A.S.C,  is  the  proud 
possessor  of  a  Mitchell  camera,  he  being 
the  latest  of  the  A.S.C.s  to  be  won  over 
to  that  wonderful  creation.  Mr.  Gaudio 
says  the  Mitchell  does  everything  a 
camera  ought  to  and  then  a  lot  more." 


And  Today: 

William  Stull  is  to  be  congratulated 
for  a  nice  job  in  editing  this  month's 
Agfa  Magazine.  .  .  .  Stanley  Cortez 
seems  to  enjoy  wandering  through  the 
biways  of  Los  Angeles  in  search  of  hu- 
man interest,  and  whatsmore  he  finds 
it.  This  practice  is  not  only  improving 
his  ability  as  a  photographer  but  is  form- 
ing a  foundation  for  his  future  as  either 
a  writer  or  a  director.  Stan  never  made 
his  ambition  known.  It's  just  my  thought 
in  the  matter. 


My  Assistant  says:  That  you  are  not 
responsible  for  what  goes  into  your 
mouth  but  what  comes  out  of  it. 


Fried  Laboratory  Equipment 
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Cable:  FRIEDCAMCO 


COOKE  LENSES 

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BELL  &  HOWELL 

COMPANY 

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Taylor-Hobson  Cooke  Cine  Lenses 
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New  York:  II  West  42d  Street 
Hollywood:  716  N.  LaBrea  Avenue 
London:  13-14  Great  Castle  Street 


Moviemakers  of  Alhambra 

The  Movie  Makers  of  Alhambra, 
Calif.,  held  their  April  meeting  on  the 
18th.  They  were  entertained  by  the 
artists  of  the  Meglin  Fanchon  and 
Marco  Dance  Studio.  Twelve  numbers 
were  given.  The  Moviemakers  were 
asked  to  bring  their  cameras  and,  with 
the  aid  of  powerful  flood  lights,  such  as 
used  by  the  professionals,  were  able  to 
get  some  very  interesting  action. 

These  shots  are  to  be  shown  at  the 
next  meeting  of  the  club.  The  members 
gave  a  vote  of  thanks  to  A.  C.  Cochran 
for  the  excellent  showing  of  the  youth- 
ful artists.  Mr.  Cochran  is  the  manager 
of  the  Alhambra  branch  of  the  Dance 
Studio. 

Later  in  the  evening  club  member 
Korn  showed  a  very  fine  "eight."  He 
covered  many  of  our  Western  parks  in 
color  and  gave  an  interesting  lecture 
with  the  film. 

Mr.  Manuel,  one  of  our  inost  talented 
camera  enthusiasts,  showed  a  color  film 
he  made  on  a  recent  trip  to  Death  Val- 
ley. He  has  a  very  fine  "sixteen"  and 
surely  gets  results. 

A  black  and  white  film  of  Yellowstone 
National  Park  closed  the  evening's  en- 


tertainment. Several  members  have  re- 
cently visited  the  various  parts  of  the 
West  where  the  wild  flowers  run  riot 
every  spring.  We  anticipate  the  show- 
ing of  these  trips  in  color  at  the  May 
meeting.  R.  A.  BATTLES, 

Publicity  Chairman 


United  States  Sends  Less  Film 
with  Larger  Receipts 

Fifty-nine  feature  films  were  released 
in  Buenos  Aires  during  the  first  two 
months  of  this  year,  compared  with  73 
for  the  same  period  of  1937.  Practically 
all  of  this  decline  was  accounted  for  by 
American  films,  although  this  develop- 
ment is  net  so  unfavorable  as  would 
first  appear. 

In  previous  years  it  was  customary 
for  the  American  companies  to  release 
their  weaker  films  during  the  summer 
months,  whereas  this  year  many  out- 
standing features  have  been  exhibited, 
some  of  them  enjoying  a  run  of  two 
weeks.  Thus,  while  the  number  of 
American  films  declined  substantially,  it 
is  believed  that  the  actual  box-office  re- 
ceipts have  showm  a  net  income. 


CAMERA 
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Cable  Address — Cameras 


CALIFORNIA 


194     American  Cinematographer     •     May,  1938 

Serious  Talk  and  Donald  Duck  !v 
Funmakers  Entertain  A.S.  C.  Men 


GEORGE  FOLSEY,  new  first  vice 
president  of  the  American  Society 
of  Cinematographers,  was  the 
master  of  ceremonies  at  the  society's 
gettogether  for  April.  The  party  started 
off  quite  sane  and  sensibly,  following 
an  interesting  motion  picture  of  Carl 
Spitz'  methods  of  training  dogs  at  his 
quarters  in  North  Hollywood;  with  John 
Harkrider,  art  director  and  producer — 
of  spectacles  and  pageants,  like,  for  in- 
stance, the  "Melody  Number"  of  MGM's 


"Ziegfeld" — paying  his  respects  to  color. 
"Color  is  here,"  he  declared. 

The  party  concluded,  in  its  vocal  and 
instrumental  phase — and  that  expres- 
sion is  plenty  pat  and  nothing  hackneyed 
in  this  present  employment — exceeding- 
ly hilarious  where  it  did  not  verge  on 
hysteria. 

Donald  Duck  and  His  Webfoot  Band 
were  present  vocally  and  instrumentally. 
Donald  lost  none  of  his  mirth-provoking 
quality  simply  because  he  appeared  in 


(!eor(/e  Folney,  mn.'ite?-  of  ceremonies  at 
A.S.C.  April  (jettogether,  new  first  vice 
president  A.S.C. 
Photo  by  Clarence  Sinclair  Bull 


the  human  guise  of  Clarence  Nash. 
Surely  Donald  could  not  have  been  more 
than  half  as  funny  if  he  really  had 
been  a  duck,  even  while  admitting  he 
sounded  at  least  like  117  per  cent  of 
one. 

When  Donald  cut  loose  with  the  sound 
effects  department  of  the  Walt  Disney 
Studio  combined  with  the  Felix  Mills 
Orchestra  of  the  Pepsodent  1:.30  P.  M. 
Sunday  show,  some  of  the  hardest  pans 
in  the  society  were  seen  to  show  abund- 
ant signs  of  breaking — like  handker- 
chiefs brazenly  used  on  eyes  that  were 
flooded,  on  cheeks  that  resembled  the 
Tujunga  Wash  on  a  parallel  night  a 
couple  of  months  preceding. 

If  any  one  thinks  that  Donald  and 
His  Webfoot  Band  are  funny  on  the 


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Cables:  "Morinc" 


May,  1938 


American  Cinematographer  195 


air  they  may  be  right.  To  one  who  has 
seen  these  splendid  musicians,  comedians 
and  acrobats  in  the  flesh  first,  it  is  dif- 
ficult to  conceive  them  as  being  half 
as  funny  when  beyond  the  reach  of 
vision. 

If  Walt  Disney  ever  turns  loose  this 
webfoot  band  appropriately  garbed  in 
front  of  a  camera  and  in  the  show  that 
was  put  on  for  the  cinematographers, 
his  animators  would  have  reason  to  con- 
strue the  action  as  a  menace. 

If  any  inquisitive  soul  rises  to  in- 
quire if  the  more  impressionable  in  the 
audience  rolled  in  the  aisles  it  may  be 
replied  No,  they  did  not.  Fortunately 
the  aisles  had  been  closed  before  the 
show  started. 

And  as  to  the  famed  belly  laughs  of 
old-time  show  business:  So  far  as  could 
be  observed  there  was  no  anatomical 
limitation.  The  bunch  just  laughed  all 
over. 

But  let's  get  back  to  brass  tacks.  Ac- 
companying Clarence  Nash  were  Hal 
Rees,  in  charge  of  the  Disney  sound  ef- 
fects department;  Eddie  Forrest,  Joel 
Durol,  Russ  Crump,  Gus  Patzner,  Art 
Smith,  Ray  Hoback  and  Ralph  Hansel. 

With  them  came  paraphernalia,  sev- 
eral hundred  kinds  of  it,  although  it 
was  stated  the  area  of  10  by  20  feet 
space  reservation  requested  was  far 
short  of  the  room  necessary  to  contain 
the  complete  equipment.  It  was  ex- 
plained by  Hal  Rees  the  department  has 
been  several  years  building  toward  the 
splendid  and  varied  equipment  that  is  a 
part  of  the  collection  available  today. 

Experimentation  is  constant  in  the 
search  for  new  gadgets  that  will  make 
sounds  different  from  those  in  the  pres- 
ent outfit.  Everything  tried  must  be 
susceptible  to  adaptation  on  a  musical 
scale.  All  of  the  members  of  the  band 
are  accomplished  musicians,  and  must  be 
before  they  can  be  eligible  for  mem- 
bership. 

All  are  expert  on  several  instruments, 
legitimate  instruments,  it  is  explained, 
in  contrast  to  "illegitimate"  noisemakers 
— which  also  they  must  be  in  order  to 
bring  tuneful  results  from  hacksaw 
blades,  bottles  and  cowbells,  gaspipe, 
baby  rattles,  raspberries,  auto  brake- 
drums,  auto  bulb  horns  and  endless  oth- 
er contraptions. 

An  organ  is  simulated  when  the  mem- 
bers of  the  band  by  hand  play  on  bel- 
lows, each  with  its  distinctive  quality. 

Coming  back  to  Mr.  Harkrider,  the 
art  director-producer  has  no  doubt  as 
to  the  imminence  of  color  against  black 
and  white  on  the  screen  in  the  com- 


•  ••CM  ^  EX... 

•  Light  Testers — Polishers  used  by  all 
maior  studios.  We  are  the  Sole  Mfrs. 
and  Distributors. 

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Fine  and  Instructive 

The  size  of  the  new  magazine 
is  quite  convenient  to  handle  and 
file.  I  might  add  that  the  subject 
matter  is  always  very  fine  and  in- 
structive, which  in  the  long  run  is 
the  most  important  feature  of  any 
publication. 

Seth  Beegle  Larsen. 
Miami  Beach,  Fla. 


paratively  near  future.  But  we  are  not 
going  into  that  here. 

We  have  been  promised  a  considered 
story  from  the  pen  of  this  man  who  has 
participated  in  the  production  of  nine- 
teen Ziegfeld  shows,  who  has  created 
major  pageants  in  all  sections  of  the 
United  States,  and  who  speaks  with 
authority  on  matters  that  touch  en- 
tertainment, spectacles  and  color  in  a 
broad  way. 


Belgium  Tightens  Censorship 

Effective  April  1,  1938,  the  circula- 
tion and  showing  of  motion  picture  films 
in  Belgium  are  to  be  controlled  more 
strictly  by  the  censorship  commission 
established  by  the  Minister  of  Justice  to 
issue  permits  under  the  law  of  Septem- 
ber 1,  1920,  by  a  royal  decree  of  Febru- 
ary 25,  1938,  published  in  the  Moniteur 
Beige  on  March  9,  according  to  a  re- 
port from  the  office  of  the  American 
Commercial  Attache. 

Educational  and  newsreel  film  and 
those  of  a  documentary  nature  may  be 
admitted  without  the  above  formalities. 


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FILM  TESTED 


Automatic  Developing  Machines 

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MOTION   PICTURE  EQUIPMENT 

Cable  Address:  ARTREEVES 
7512  Santa  Monica  Blvd.  Hollywood,  California  U.  S.  A. 


1!H5     American  Cinematographer 


May,  ]'.r.iH 


De  Vry  sound  and  silent  cameras  are  stand- 
ard. The  newsreeler  finds  his  "Model  A" 
and  De  Vry  35mm  sound  cameras  reliable 
companions.  .  .  "ready  for  action"  regard- 
less of  conditions.  Explorers,  adventurers, 
producers  have  learned  that  the  cold  of 
the  arctics,  dampness  and  heat  of  the 
tropics  do  not  affect  them.  De  Vry's  are 
built  to  TAKE  IT. 


,    ^r"  •  •       Model   70  s 
(l6rTirn.),   35mm.  sound  Camera 

■    .k    »      •  ■  ■  ■  doing  their  duty 

off  Ai  ""'^  °*  i"  the  Fiji  Islands 

M.,trh..   „  r  -       J   "'"•ra  at   recent  international  Tennis 
Matches  in  Cairo,  Egypt  .  .  .  Norman  Alley  s  constant  helo 
.na  e   during   Chinese   bombardments.     Discriminating  professionaU 
amateurs    know    "YOU'RE    SAFE    WHFN     vnn     Dirv     p e    m '  • 


know    "YOU'RE    SAFE    WHEN     YOU  BUY 

De  VRY  CORPORATION,  I  I  I  I  Armitage  A 

Chicago,  Illinois 


ve. 


Llewellyn  Joins  Wilding 

John  G.  ("Jack")  Llewellyn  has  joined 
the  sales  organization  of  Wilding  Picture 
Productions,  Inc.,  Chicago.  He  goes  from 
Bell  &  Howell,  where  he  was  sales  man- 
ager for  eleven  years.  Two  years  ago 
Wilding  rehabilitated  and  modernized 
the  extensive  Essanay  properties  in  Chi- 
ciga,  where  pictures  featuring  Charlie 
Chaplin  and  Wallace  Beery  among 
others  were  produced. 


Papers  on  Color  and  Sound  Get 
Play  from  Engineers '  Convention 


J.  G.  ( Jack)  Llewellyn,  former  general 
sales  manaffer  Bell  &  Howell,  now  asso- 
ciated with  sales  department  of  Wilding 
Picture  Productions,  Inc. 


Featuiing  in  its  papers  program  the 
latest  developments  in  tools  and  tech- 
niques for  the  production  of  motion  pic- 
tures, the  Society  of  Motion  Picture 
Engineers  held  its  forty-third  semi- 
annual convention  at  the  Wardman-Park 
Hotel,  Washington,  April  25-28,  present- 
ing one  of  the  strongest  line-ups  of 
papers  in  its  history. 

This  meeting  of  the  motion  picture 
engineers  paid  particular  attention  to 
color  and  sound  recording  and  reproduc- 
tion. However,  during  the  course  of  the 
four-day  convention  practically  every 
phase  of  the  industry  was  covered  in 
technical  papers  and  discussions. 

Three  sessions  were  devoted  to  sound 
in  all  of  its  phases  and  there  also  were 
complete  sessions  devoted  to  papers  deal- 
ing with  developments  in  photographic 
and  laboratory  processes,  optics  and  pro- 
jection developments,  16mm.  equipment, 
new  apparatus  and  educational  and  in- 
dustrial motion  pictures. 

The  convention  opened  Monday,  April 
25.  An  informal  luncheon  was  held  the 
opening  day  at  which  Daniel  C.  Roper, 
Secretary  of  Commerce;  William  G.  Mc- 
Adoo,  Senator  from  California,  and  Col. 
Dan  I.  Sultan,  engineer  commissioner  for 
the  District  of  Columbia,  spoke.  The 
semi-annual  convention  was  held  Wed- 
nesday evening,  at  which  Dr.  C.  E.  Ken- 
neth Mees,  vice  president  of  Eastman 
Kodak,  and  other  leading  men  of  the 
industry  talked. 

With  the  tremendous  advance  that  has 


been  made  in  motion  picture  film  stock 
in  recent  months  particular  attention  was 
devoted  to  photography,  during  which 
such  papers  as  "Problems  in  the  Use  of 
Ultra  Speed  Negative  Film,"  by  P.  H. 
Arnold,  of  the  Agfa  Ansco  Corporation, 
and  "Characteristics  of  Supreme  Pan- 
chromatic Negative,"  by  A.  W.  Cook  of 
the  same  company  were  particularly 
valuable,  as  also  the  paper  "The  De- 
termination of  Correct  Exposure  in 
Photography,"  by  L.  A.  Jones  of  the 
Eastman  Kodak  Company. 

On  Monday  evening  H.  E.  Ives  of  Bell 
Telephone  Laboratories  presented  a 
paper  entitled  "The  Transmission  of  Mo- 
tion Pictures  Over  a  Coaxial  Cable.''  Six 
papers  were  presented  Tuesday  on  the 
subject  of  color,  among  which  "The 
Theory  of  Color  Reproduction,"  by  A.  C. 
Hardy  of  the  Massachusetts  Institute  of 
Technology,"  and  "The  Multiplane  Cam- 
era," by  W.  E.  Garity  of  the  Walt  Disney 
Productions  Inc.,  were  of  particular  in- 
terest. The  multiplane  camera  is  the  one 
used  in  recent  Walt  Disney  creations. 

During  the  two  sessions  on  sound,  re- 
cent developments  in  ultra-violet  record- 
ing were  presented  by  G.  L.  Dimmich,  L. 
T.  Sachtleben  and  J.  0.  Baker  of  the 
RCA  Manufacturing  Company.  H.  G. 
Tasker  of  Universal  Pictures  presented 
a  paper  on  "Multiple  Channel  Recording," 
and  G.  Friedl,  Jr.,  of  the  International 
Projector  Corporation  described  "A  New 
Sound  System." 


EASTMAN 
SUPER  X 

NEGATIVE 

J.  E.  BRULATOUR,  INC. 


ANNOUNCES 


16  mm.  PROJECTOR 

The  u,„„a,e  ,n  screen  illu„,i„a,ion< 

-tains ,h.  economy,  convenience  '  rfT' 
"'"on  reed,  ce„,  a^d 

foolproof  connecion/  .P'"'"');  "'-"fied  c„„„ol,, 

prising  ease  of  „pera,i„„;  ""b'ne  ,o  provide  sur- 

Engineered  tlirouehou,  f 
FiWarc  re,ains  such  •"""'•'"'ion.  ,he 

B^Hin,er.i„e„  - 
i"«  fi-n,,  and  •  FlexonTa.ic.  "T'  T'"'"  '"""""on,  flo... 

T„  Sprocket  euard<i 

Two  types  are  avaiJable-a  -roll 
^-ted,  for  easy  „,oven.ent  fro^ 

even  more  compact  telescopicT  '"""^  '°  ^"^ 
"on  in  cases.  '""del,  for  transporta- 

new  Filmo\rTToiectt^"B^l'i"!i^'"''"^^'^  '^^-^  ^^e 
cago,  New  York,  Hollywood  L  d'"'"  ''""P^"^' 

ywood,  London.  Estahlished  1907. 


FILMO  70-D  (/e//)  — Unrivaled 
among  16  mm.  cameras.  Com- 
pact, light,  versatile,  this  finest 
of  all  personal  movie  cameras 
has  seven  film  speeds  including 
slow  motion,  a  turret  head  for 
quick  lens  changes,  and  a  wide 
variety  of  instantly  removable 
optional  accessories,  such  as 
electric  motor,  external  film 
magazines,  and  other  equip- 
ment to  add  novelty  and  variety 
to  your  personal  films. 


FILMO  DOUBLE  8  {right) —This  8  mm. 
camera  has  everything!  Instant  loading — film 
literally  drops  into  place.  Taylor-Hobson 
F  2.5  lens,  interchangeable.  Automatically 
reset  film  footage  dial.  Four  operating  speeds 
.  .  .  your  choice  of  two  speed  ranges  .  .  .  plus 
single-frame  exposure  device  for  animation 
work.  Built-in  spyglass  viewfinder  with 
masks  for  telephoto  lenses.  With  speeds  8 
to  32,  $80.  Speeds  16  to  64,  $85.  Model 
134-G,  with  f  3.5  lens,  only  $55. 


WITH  A  yi^ff^  CAMERA  YOU  CAN  EVEN 
MAKE  COLOR  MOVIES  IN  S-L-O-W  MOTION 

THAT  is  a  camera  achievement— and  Filmo  does  it  so  per- 
fectly. On  both  8  millimeter  and  16  millimeter  film,  Filmos 
make  incomparably  fine  color  movies,  even  in  slow  motion. 

There  is  a  wide  range  of  Filmo  Cameras  for  you  to  choose 
from.  To  help  you  decide  which  Filmo,  mail  the  coupon 
below  for  information. 

New  Filmosound  Library  Releases  :  cobbler  captain  of  koepeneck.  German  dialog. 
English  superimposed  titles.  7.  and  9-reel  sound  versions.  •  KEY  TO  THE  SEVEH 
SEAS.  The  City  of  Bremen,  old  and  new.  1-reel  sound.  •  ALICE  IN  WONDERLAND. 
With  Joan  Bennett,  music  by  Irving  Berlin.  1-reel  sound.  •  KNIGHTS  IN  KHAKI. 
A  Boy  Scout  talkie,  produced  in  Hollywood  by  Capt.  Donavin  Miller.  2-reel 
sound.  •  WORLD  JAMBOREE.  Minnesota  Boy  Scouts  attend  the  international 
meet  in  Holland,  visiting  Paris  and  London  en  route.  1-reeI  silent.  •  SIX 
NEW  TERRYTOONS.  Cartoon  comedies,  sound  and  silent,  16  mm.  and  8  mm., 
sale  or  rental. 


MAIL  COUPON 

for  Details  about 
Filmo  Cameras 
or  Projectors 


ilJi 


V^'^r^^^\  )Newn 

8  m^V'  ^  f''™o  16  mm  r  ™°  *  ™m.  Pro- 
«  mm.  Cameras.  (    )  fiimroun'd'TfbraV  ^ 


Address  

City  


.  State .  . 


I  BELL  &  HOWELL 


AMERICAN  CINEMATOGRAPHER 
AMATEUR  MOVIES  SECTION 


WHY  ALL  THE  ENTHUSIASM? 


AMATEUR  movie  makers  get  a  big 
.  thrill  out  of  shooting  the  spring 
sequences  they've  been  planning  all  win- 
ter. And  they're  particularly  enthusiastic 
about  the  results,  when  they  use  Agfa 
l6mm. Fine-Grain  Plenachrome  Reversi- 
ble Film. 

THE  ALL-AROUND,  OUTDOOR 
FILM 

This  all-around,  outdoor  film  combines 
high  speed,  wide  latitude,  and  a  truly 
effective  anti-halation  coating.  It  is  fully 


sensitive  to  all  colors  except  spectral  red, 
and  it  offers  an  extreme  fineness  of  grain 
that  permits  unusually  large  projection 
without  loss  of  detail. 

For  crisper,  clearer  movies  this  spring 
.  .  .  use  Agfa  l6mm.  Fine-Grain  Plena- 
chrome  Reversible  Film.  It  is  available  in 
100-foot  rolls  at  $4.50,  and  in  50-foot 
rolls  at  $2.7  5  —  including  processing 
and  return  postage.  Made  by  Agfa 
Ansco  Corporation  in  Binghamton, 
New  Yorlc. 


May,  1938     •     American  Cinematographer  201 


AMATEUR  MOVIE 


SECTION 


SOCIETY 

OF  AMATEUR 

CINEMATOGRAPHERS 


BOARD  OF  REVIEW 

Victor  Milner,  President,  A.S.C.,  Director 
of  Photography  Paramount  Studios,  Acad- 
emy Award  Winner  1935 

Karl  Struss,  A.S.C.,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award 
Winner  1928 

Fred  W.  Jackman,  Treasurer  American  So- 
ciety of  Cinematographers 

Dan  Clark,  A.S.C.,  Director  of  Photog- 
raphy Twentieth  Century-Fox 

Tony  Gaudio,  A.S.C.,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 
Award  Winner  1937 


Contents.... 


And  Now  It's  a  Little  Academy  202 

By  George  Blaisdell 

U.  S.  C.'s  Film  Business  Course  is  away 
to  brilliant  beginning  203 

Strikingly  good  show  was  that  of  In- 
ternational Amateur  Movie  204 

By  Duncan  MacD.  Little 

Cine  Kodak  secures  added  range  in  new 
Eastman  focusing  finder  205 

Bell  &  Howell  announces   16mm.  pro- 
jector with  powerful  arc  206 

Be  kind  to  Old  Man  Tempo  208 

Notes  of  the  Movie  Clubs  209 

How  movie  clubs  may  profit  by  main- 
taining a  stock  shot  library  212 

Here's  the  answer  213 

Here's  filmer's  chance  to  take  advantage 
of  early  summer  rain  214 

Big  four  day  gathering  set  for  con- 
ference on  visual  education  215 

National  archives  will  preserve  motion 

pictures  for  generations  217 

By  John  G.  Bradley 

New  Super  Panchro-Press  film  is  an- 
nounced by  Eastman  Kodak  Co  219 


202     American  Cinematographer     •     May,  1938 


And  Now  It  s  A  Little  Academy 


THE  Hollywood  Reporter  has 
started  something,  something,  by 
the  way,  new  under  the  sun.  The 
daily  is  securing  the  verdict  of  the  Holly- 
wood reviewers  as  to  the  best  each 
month  in  production,  direction;  perform- 
ance by  actress,  actor,  supporting  ac- 
tress, supporting  actor,  incident  per- 
formance, screenplay,  original  story, 
cinematography,  musical  score  and  origi- 
nal song. 

The  Reporter  is  taking  on  its  new  job 
seriously,  as  Eddy  Eckels,  who  directed 
the  poll,  declared  to  the  editor 
of  this  magazine.  Every  effort 
is  being  made  to  assure  not  only 
readers  of  the  newspaper  but 
the  industry  as  a  whole  and  the 
millions  of  newspaper  and 
magazine  readers  throughout 
the  world  that  the  declarations 
of  the  bona  fide  reviewers  repre- 
sent their  free  and  unfettered 
opinion. 

The  ballots  are  restricted  to 
local,  national  and  international 
representatives  of  publications 
which  have  readers  in  sufficient 
numbers  to  count,  to  constitute 
a  rating.  Among  them  are  those 
who  report  to  the  Associated 
Press  and  other  organizations 
reaching  masses  of  readers. 

It  may  be  of  special  interest 
to  readers  of  The  American 
Cinematographer  to  know  that 
the  subject  represented  by  the 
scene  on  the  front  cover  of  the 
April  issue  was  in  the  running 
a  half  dozen  ways. 

In  the  first  place  it  was  de- 
clared that  "Jezebel'"  was  the 
best  production.  The  work  of 
Bette  Davis  was  said  by  80  per 
cent  of  the  voting  critics  to  be 
the  best  by  an  actress.  Fay 
Bainter  was  given  the  rating  as 
the  best  supporting  actress. 
Ernest  Haller,  A.S.C.,  was  given 
the  award  for  the  best  photog- 
raphy. William  Wyler,  who  di- 
rected "Jezebel,"  came  in  second 
under  the  wire,  being  headed 
only  by  Ernst  Lubitsch  in  Para- 
mount's  "Bluebeard's  Eighth 
Wife."  George  Brent,  male  lead 
in  "Jezebel,'"  was  third  in  the 
vote  for  the  best  performance 
by  an  actor,  and  Donald  Crisp 
in  the  same  picture  was  second 
in  the  vote  for  the  best  support- 
ing actor. 

Karl  F'reund,  A.S.C.,  winner 
of  the  Academy  photographic  award  for 
1937,  was  second  in  his  division  for  his 
work  in  Universal's  "Seven  Seas,"  and 
Ray  Rennahan,  A.S.C.,  for  his  striking 
Technicolor  craftmanship  in  Paramount's 
"Jungle  Love,"  was  a  close  third  in  the 
voting. 

The  film  daily  is  to  be  congratulat-?d 
for  its  innovation.  Easily  the  monthly 
poll  may  develop  into  one  of  the  major 
factors  of  industry  interest.  Already  the 
newspaper  has  been  made  aware  of  the 
importance  of  establishing  in  the  minds 
of  the  men  and  women  in  the  business 


By  GEORGE  BLAISDELL 

and  outside  of  it  the  necessity  of  plant- 
ing the  conviction  that  everything  con- 
nected with  the  poll  is  above  reproach 
and  outside  the  realm  of  the  politician 
and  the  meddler. 

It  has  under  consideration  following 
the  lead  of  the  Academy  in  the  last 
award:  of  putting  the  counting  and  the 
recording  of  the  votes  into  the  hands 
of  an  authority  the  name  of  which  will 
be  sufficient  guarantee  of  its  integrity 
and  wherein  the  paper  itself  will  be 
without  cognizance  of  the  voting  until  the 


a  completed  motion  picture  and  part  by 
part  award  bouquets  for  top  perform- 
ances are  few  in  a  hundred — or  a  thou- 
sand, either,  for  that  matter. 

The  Reporter  will  not  be  commended 
if  the  poll  be  overcommercialized  by 
near  strongarm  .solicitation  of  advertis- 
ing from  those  who  win  the  combined 
nod  of  the  reviewers.  Self-respecting 
writers  of  their  own  volition  will  decline 
to  be  a  party  to  such  a  deal— and  if 
they  do  not  take  such  a  step  in  all  likeli- 
hood the  publication  which  buys  them 
their  beef  and  beans — and  in 
some  instances  ham  and  eggs 
— will  order  them  to  do  so. 
▼ 

WE  TOOK  a  whirl  at  the 
new  Agfa  Superpan 
Press  in  a  B2  roll  (2»A 
by  3%  inches)  during  the  month. 
The  camera  used  was  a  No.  1 
autographic  Kodak  Special, 
equipped  with  a  Zeiss  Kodak  an- 
astigmat  f6:3  lens  (Wollensak) 
and  Optimo  shutter.  The  camera 
was  handheld  and  the  five  shots 
exposed  near  the  Western  ave- 
nue entrance  of  Griffith  Park 
were  taken  without  benefit  of 
light  meter  or  sunshade.  The 
time  was  between  2:15  and 
3:00  o'clock,  April  9. 

Barling  one  prior  unlighted 
interior  which  returned  a  per- 
fect dud  the  five  scenes  of  shade 
were  the  first  of  the  new  film 
to  be  exposed  by  this  writer. 
That  dud,  by  the  way,  may  be 
ascribed  to  fumbling  of  the  roll 
while  loading  the  evening  before 
the  exposure,  due  in  part  to 
overcaution  following  or  trying 
to  follow  the  printed  warning 
to  "Load  in  subdued  light." 

The  factors  employed  for  the 
group  of  shots,  the  characters 
of  which  were  not  dissimilar, 
were  f:16  aperture  and  1/50 
exposure.  In  one  instance  there 
was  a  variation  to  f:22  and  in 
another  the  timing  was  changed 
to  1/100,  but  the  particular  sub- 
jects were  not  identified.  The 
camera  was  pointed  downstream 
on  a  slowly  flowing  brook. 


T 


Photographed  on  new  Agfa  Superpan  Press 

final  report  is  declared.  The  Reporter 
will  be  commended  if  it  take  steps  to 
protect  the  public's  respect  for  the  body 
which  participates  in  the  plebiscite — of 
restricting  ballots  to  grown  men  and 
women  who  know  a  hawk  from  a  hand- 
saw when  it  comes  to  motion  picture 
appreciation — to  borrow  a  phrase  from 
the  pedagogues  which  may  possess  in- 
creasing importance  as  the  poll  grows 
in  influence  and  authority. 

Actually  the  number  of  persons  who 
by  native  capacity,  training  and  possibly 
education  are  competent  to  break  down 


HE  possibilities  for  the 
making     of     money  by 

  "Snow    White    and  the 

Seven  Dwarfs"  would  seem  al- 
most to  be  without  end.  We 
know  that  in  five  weeks  in  New  York  the 
magnified  cartoon  in  one  theater  returned 
over  a  half  million  dollars.  We  know- 
that  here  in  Los  Angeles  as  a  result  of  a 
four  months'  run  in  one  house  it  has 
brought  in  a  fifth  of  a  million. 

That  is  the  tale  of  but  two  houses 
among  the  thousands  in  which  the  pic- 
ture will  be  shown.  But  it  is  not  alone 
in  houses  of  entertainment  money 
streams  in  that  human  beings  may  look 
upon  creatures  of  fancy  that  apparently 
can  do  anything  humans  can  do  and 
absolutely  do  a  multitude  of  things  hu- 


May,  1938 


American  Cinematographer  203 


mans  would  not  in  their  wilder  moments 
dream  of  doing. 

Now  Jack  Goldberg,  having  to  do  with 
the  International  Eoad  Shows,  has  con- 
tracted with  a  famous  builder  of  mario- 
nette shows  to  create  fifty  units  of 
"Snow  White."  They  will  be  installed 
from  coast  to  coast  in  carnivals  and 
state  fairs,  as  well  as  leased  in  picture 
theaters. 

Snow  White  and  her  friends  surely 
reached  the  heart  of  the  multitude. 
T 

THE  final  ten  days  of  March  and 
the  first  ten  days  of  April  were 
busy  days  for  New  Yorkers  who 
follow  amateur  motion  picture  shows. 
There  was  the  preview  of  the  Ninth 
Annual  Movie  Party  March  18  and  the 
main  showing  at  the  McMillin  Theater 
on  the  23rd. 

There  was  a  press  preview  of  the  In- 
ternational Movie  Show  at  the  Preview 
Theater,  1600  Broadway,  on  the  after- 
noon of  April  4,  and  in  the  evening  an- 
other preview  at  the  Columbia  Faculty 
Club,  with  Dr.  Nicholas  Murray  Butler, 
president,  as  guest  of  honor  and  three- 
score members  of  the  faculty  and  their 
wives. 

The  real  International  show  was  on 
the  evening  of  the  6th,  and  then  there 
was  the  repeat  performance  on  the  9th. 
Sandwiched  in  was  a  show  at  the  St. 
Paul's  Episcopal  Church  in  Yonkers  on 
the  7th. 

New  York  and  Los  Angeles  have  been 
the  centers  fortunate  in  the  possession 
of  competitions  drawing  on  the  wide 
world  for  non-professional  cine  material. 
Amateurs  in  those  cities,  at  least  ama- 
teurs who  are  members  of  clubs  having 
access  through  loan  in  some  instances 
to  these  above  par  amateur  subjects, 
have  had  the  advantage  over  their  less 
happily  situated  brother  and  sister  ad- 
dicts. 

There  should  be  some  remedy  for  that. 
Maybe  there  will  be. 

T 

THERE  may  be  significance  as  well 
as  coincidence  in  the  news  attach- 
ing to  two  members  of  the  A.S.C. 
in  the  present  issue.  Both  of  these  men 
in  earlier  years  have  been  assigned  for 
quite  a  number  of  months  to  work  in 
Europe.  Both  believe  they  were  benefited 
materially  in  a  photographic  way  by 
reason  of  their  opportunities  to  study 
among  other  artistic  factors  the  work  of 
the  old  masters — in  lighting  for  one  of 
the  essentials. 

Joseph  Valentine,  A.S.C,  was  one  of 
the  three  selected  by  the  caucus  of  tech- 
nicians in  their  eliminating  preliminary 
viewing  for  the  Academy  Awards  of  1937 
productions. 

Ernest  Haller,  A.S.C,  was  named  by 
the  major  Hollywood  critics  as  being 
tops  in  photography  among  his  confreres 
responsible  for  camera  work  on  the 
thirteen  March  releases  included  in  the 
films  submitted  to  the  critics. 

It  happens  that  neither  cameraman 
was  under  contract  at  this  time  to  the 
firm  which  had,  in  earlier  days,  sent 
the  two  men  abroad.  In  other  words,  if 
the  benefit  received  by  these  men  be  as 
tangible  as  they  are  convinced  it  is  that 
benefit  went  to  competitors  of  the  studio 
which  had  assigned  these  men  to  work 
overseas. 


It  is  evident  that  reviewers,  necessarily 
in  a  photographic  way  rating  as  laymen, 
are  as  one  with  studio  technicians,  ad- 
mittedly professionals,  when  it  comes  to 
putting  the  finger  on  the  major  impor- 
tance of  lighting. 

When  television  eventually  creeps 
around  the  corner  the  value  to  the  studios 
of  skill  in  the  realm  of  lighting  will  be 
magnified,  perhaps  beyond  present  real- 
ization. 

Maybe  there  really  is  significance  as 
well  as  coincidence  in  the  recognition 
that  has  come  to  these  two  men  v/ho  so 
notably  have  contributed  to  the  photo- 
graphic quality  of  American  pictures. 

Maybe  the  museums  of  Europe  really 
do  display  on  their  walls  paintings  that 
contain  commercial  as  well  as  artistic 
qualities  for  the  American  producer  who 
chooses  to  avail  himself  of  their  possi- 
bilities. 


BRILLIANTLY  successful  has  been 
the  University  of  Southern  Califor- 
nia's Department  of  Cinematog- 
raphy course  in  motion  picture  distribu- 
tion and  exhibition,  inaugurated  for  the 
first  time  during  the  second  semester  of 
the  current  school  year. 

Sponsored  by  Charles  P.  Skouras, 
president  of  Fox-West  Coast  Theaters, 
and  conducted  by  Charles  A.  Buckley, 
general  counsel  of  the  same  organiza- 
tion, distribution  and  exhibition  have 
obtained  an  unprecedented  array  of 
prominent  motion  picture  executives  to 
present  special  lectures  before  the  stu- 
dent group. 

The  course  was  started  off"  last  Feb- 
ruary with  Louis  B.  Mayer,  production 
head  of  MOM,  lecturing  on  "Wliat  Con- 
stitutes Showmanship."  Again  on  March 
30  Darryl  Zanuck,  in  charge  of  produc- 
tion for  Twentieth  Century-Fox,  lectured 
on  "Showmanship." 

Although  these  two  producers'  sub- 
jects were  titled  nearly  the  same,  the 
material  presented  in  each  case  was  en- 
tirely different,  and  needless  to  say  both 
lectures  were  outstanding. 

Calls  on  Specialists 
It  has  been  Mr.  Buckley's  policy  to 
draw  specialists  from  the  motion  picture 
field,  each  to  lecture  and  later  to  conduct 
an  open  student  forum  on  their  partic- 
ular field.  Occasionally  a  student's  ques- 
tion will  greatly  amuse  the  lecturer. 
Especially  is  this  so  of  the  invariably 
asked  question,  "What  do  you  think  will 
happen  to  double  features?" 

Typical     of    the     answers     is  Mr. 


Best  Ever 

I  think  your  magazine  is  the 
best  one  I  have  ever  read  on  the 
subjects  it  covers. 

LEO  A.  JAROSLAW. 

Rantoul,  111. 


Certainly  and  without  any  suggestion 
of  maybe  there  are  many  examples  of 
old  masters  and  modern  masters  as  well 
right  here  in  these  United  States. 

Great  institutions  of  learning  and 
captains  of  industry  find  it  of  advantage 
to  their  organizations  to  adhere  to  the 
policy  regularly  of  delegating  for  study 
and  observation  at  home  and  abroad 
those  of  their  subordinates  who  have 
most  abundantly  given  evidence  of  pos- 
sessing value  above  the  average  to  their 
employers. 

That  custom  has  not  obtained  in  the 
picture  industry.  Due  to  the  dominance 
the  United  States  early  assumed  in  that 
field  the  major  executives  have  taken  it 
as  a  matter  of  course  that  the  heads  of 
studios  and  their  subordinates  in  other 
countries  should  come  here  and  sit  at 
their  feet  when  seeking  information. 

Have  they  overlooked  the  cameramen? 


Zanuck's:  "I  really  don't  know.  I  wish 
I  did." 

Al  Lichtman,  distribution  head  of 
MGM,  lectured  on  the  history  of  motion 
picture  distribution.  Herman  Wobber, 
Pacific  Coast  distribution  head  for 
Twentieth  Century-Fox,  devoted  most  of 
his  lecture  to  the  details  of  determining 
film  rentals. 

Technical  Talks 

More  technical  in  character  were  the 
lectures  of  William  H.  Lollier  and  John 
B.  Bertero  of  the  Fox-West  Coast 
Theater  organization.  Mr.  Lollier  de- 
tailed the  important  aspects  of  theater 
purchasing,  constructing  and  leasing.  Mr. 
Bertero  devoted  his  time  to  the  intricate 
problems  of  zoning  and  clearance. 

Last  of  the  speakers  before  the  Uni- 
versity dismissed  for  the  Easter  spring 
vacation  was  Col.  Jason  Joy,  head  of  the 
story  committee,  general  public  relations 
counsel  and  assistant  to  Mr.  Zanuck  at 
the  Twentieth  Century-Fox  studioes. 

Col.  Joy  stressed  the  importance  of 
building  good  will  with  the  public  and 
the  problems  of  censorship  in  produc- 
tion and  distribution. 

Mr.  Buckley,  a  Harvard  Law  School 
man,  is  presenting  his  course  on  the  high 
academic  plane  so  necessary  to  formal 
university  work  at  the  same  time  he  is 
introducing  to  the  student  a  wealth  of 
practical  material  from  the  business 
field.  This  educational  approach  approx- 
imates the  lines  so  successfully  followed 
by  all  universities  in  preparing  students 
for  the  practice  of  law  and  medicine. 

With  the  university  reconvening  after 
Easter,  Dr.  A.  H.  Gianinni,  president  of 
United  Artists,  is  scheduled  for  April  20. 
Dr.  Gianinni  has  been  a  working  banker 
all  his  life.  He  has  specialized  in  motion 
picture  banking,  and  in  the  industry  is 
looked  upon  as  the  greatest  authority  in 
that  field.  He  will  lecture  on  the  finan- 
cial aspects  of  distribution  and  exhibi- 
tion. 


U.  S.  C.  's  Film  Business  Course 
Is  Away  To  Brilliant  Beginning 


204      American  Cinematographer      •      May,  1938 


Strikingly  Good  Show  IV as  That 
of  International  Amateur  Movie 

Nine  Subjects  From  as  Many  Countries  Acclaimed  in 
Prog-ram  Exhibited  Under  Auspices  of  Columbia 
University's  Film  Study  Division  —  "Zao" 
Praised  for  Its  High  Camera  Quality 

By  DUNCAN  MacD.  LITTLE 


THE  International  Amateur  Movie 
Show  was  held  as  the  closing  ses- 
sion of  the  Motion  Picture  Parade 
conducted  by  the  Division  of  Film  Study 
of  Columbia  University,  New  York, 
April  6,  before  an  audience  of  perhaps 
400.  The  weather  that  day  was  vile,  a 
wet  sloppy  snow  falling  all  day  and 
most  of  the  evening,  with  the  result  that 
many,  we  know,  stayed  home  by  the 
radio  rather  than  go  out  into  the  storm. 
And  thereby  did  they  miss  a  rare  show. 

The  countries  represented  were,  in 
their  order  on  the  program:  Australia, 
Japan,  Scotland,  Czechoslovakia,  Can- 
ada, England,  Germany,  United  States 
and  Poland.  Films  had  been  expected 
from  Hungary,  Austria  and  Spain,  but 
unfortunately  did  not  arrive.  The  pic- 
tures were : 

TO  THE  SHIPS  OF  SYDNEY 

Great  interest  and  acclaim  was  ex- 
pressed, particularly  to  the  "fog"  se- 
quence. That  was  remarkable  and  very 
beautiful. 
MOUNT  ZAO 

Remarkable  for  its  subject,  first  of  all. 
To  many  of  us  it  is  a  revelation  that 
skiing  should  be  a  national  sport  in 
Japan,  but  then,  on  the  other  hand,  why? 
For  it  is  a  nation  quick  to  take  any  idea 
of  value,  and  to  do  well  with  it — for  in- 
stance, the  way  that  baseball  has  been 
completely  made  a  part  of  the  lives  of 
the  Japanese. 

"Best  Ever" 

Mount  Zao  unquestionably  deserved 
its  high  ratings,  and  not  the  least  does 
it  deserve  the  A.S.C.  "first"  for  photog- 
raphy. Many  said  "The  best  amateur 
photography  ever  seen."  Interesting  it 
is  that  just  today  Mrs.  Little  and  T 
saw  a  professional  skiing  film  from  Nor- 
way, that  in  no  way  could  be  compared 
with  Zao. 

The  lighting  in  the  commercial  pro- 
duction was  flat  and  the  contrasts  (or 
lack  of  them)  made  a  gray  and  "muddy" 
effect.  I  wish  I  could  show  "Zao"  to 
the  producer  and  exhibitor  of  that  film. 
FOURTH  IN  HAND 

An  original  .story  and  plot,  never  di- 
vulging what   is  to  come  and  holding 


IN  the  April  issue  of  this  maga- 
zine was  printed  the  list  of 
subjects  that  had  been  selected 
for  the  Intel-national  Movie  Show 
to  be  conducted  under  the  auspices 
of  the  Division  of  Film  Study  of 
Columbia  University.  The  program 
had  been  arranged  in  cooperation 
with  Duncan  MacD.  Little,  with 
musical  arrangements  by  Miss  El- 
friede  Boemer. 

Mr.  Little  has  favored  the  read- 
ers of  The  Cinematographer  with 
the  benefit  of  his  matured  judg- 
ment on  the  major  points  of  the 
nine  subjects  chosen  from  as  many 
countries. 


suspense  to  the  end.  Judicious  cutting, 
in  some  cases  only  a  frame,  in  others  of 
more,  would  "snap  it  up,"  but  by  and 
large  it  is  extremely  well  done. 

The  lighting  of  the  interiors  (and 
most  scenes  are  interiors)  is  excellent, 
the  transitions  extremely  clever,  and  in 
the  opinion  of  many  well  qualified  to 
say,  quite  the  best  amateur  photoplay 
ever  seen. 

Again  let  me  say,  an  original  story! 
This  comment  was  forcefully  expressed 
by  the  stoiy  editor  of  a  great  production 
company.  A  completely  new  stoi-y! 
L'HISTOIRE  D'UN  SOLDAT 

An  anti-war  preachment,  boldly  and 
ably  done  in  allegory  with  but  three 
characters,  and  two  are  only  seen  briefly. 

Strangely  enough  we  viewed  it  first 
on  the  same  day  that  the  German  troops 
entered  Austria,  and  the  impression  (in 
conjunction  with  that  news),  was  tre- 
mendous. 

GLOIRE  A  L'EAU 

A  background  film,  to  be  used  to 
"point  up"  a  lecture  (or  sermon)  on  the 
benefits  Nature  disposes  upon  us.  Beau- 
tiful photography,  but,  without  the  dis- 
course that  normally  accompanies  it,  too 
long  and  too  little  action. 

Convincing  Work 
DRIFTWOOD 

An  old  production  by  a  master  group 


— an  old  and  threadbare  plot  excellently 
carried  out.  Direction,  casting,  acting 
and  technical  work  all  excellent.  Light- 
ing quite  as  good  as,  maybe  better  than 
professional  work  of  a  dozen  or  fifteen 
years  ago,  and  one  never  is  conscious 
of  the  camera  save  for  an  unfortunate 
second  or  two  when  the  feminine  lead 
looks  directly  into  the  lens. 

Even  the  sets  (and  there  were  at  least 
seven)  were  made  by  this  amateur  pro- 
duction group,  and  they  are  convincing 
— more  convincing  than  many  profes- 
sional sets,  probably  because  they  are 
confined  and  not  mammoth. 

One  error  is  noted  in  the  film.  When 
the  feminine  lead  is  discharged  from 
prison  her  name  is  ruled  out  on  the 
prison  register.  There  are,  below  hers, 
other  names  with  shorter  sentences 
noted,  but  these  had  none  of  them  been 
ruled  out.  Not  so  serious  an  error,  at 
that! 

The  acting  of  "him  who  got  mur- 
dered" is,  in  the  writer's  opinion,  able 
and  flawless  and  that  of  the  villain  of 
the  piece  is  also  of  a  high  order.  A 
capable  job  throughout. 
BOMMERLI 

Like  the  "Happy  Days"  of  Lawrenson, 
of  Dundee,  Scotland,  this  shows  how 
the  "backyard"  or  "home"  movie  can  be 
strengthened  and  made  interesting  by  a 
few  extra  shots  to  provide  a  thread  or 
theme.  The  acting  of  the  mother  (whose 
face  one  never  sees)  is  good,  and,  again 
the  film  is  noteworthy  for  its  transitions. 
PRIZE  WINNER 

Needs  no  comments — your  magazine 
has  commented  already.  However,  two 
thoughts  might  be  interjected.  First,  I 
have  assisted  with  a  few  flat  tires,  but 
I  never  received  more  than  a  "Thank 
You."  Ten  dollars  for  a  flat  tire !  Well, 
I'll  continue  to  be  chivalrous.  Second, 
some  device  or  trick  should  have  been 
used  to  indicate  a  time  lapse  at  the  end, 
else  nature  speeded  things. 

Color  Stands  Out 

A  PROVINCE  OF  POLAND  (received 
only  the  afternoon  of  the  show,  too 
late  for  inclusion  on  the  printed 
program,  but  nevertheless  shown) 

Submitted  by  Polskie  Towerzystwa  Fo- 


May,  1938 


American  Cinematographer  205 


tograficzne,  Sekcja  Filmowa,  Warsaw, 
Poland,  and  made  by  Tadeusz  Jankowski, 
Ing.  This  film  was  awarded  first  prize 
for  color  at  the  Paris  International  last 
summer  (1937)  and  richly  deserved  it! 

With  the  film  came  the  necessary  rec- 
ords for  scoring,  and  again  one  sees  the 
value  of  a  trained  mind  (in  any  line). 

The  records  were  perfectly  marked, 
and  the  film  was  perfectly  timed  to 
match  the  music,  with  projector  run- 
ning exactly  at  16  frames  a  second  and 
phonograph  at  78  r.p.m.  Quite  evidently 
Mr.  Jankowski  uses  a  single  phonograph, 
for  at  the  end  of  each  record  (or  where 
the  end  was  indicated,  by  white  paint), 
there  was  a  slow  fadeout  and  a  brief  bit 
of  blank  screen,  darkly  colored,  and  then 
a  slow  fadein,  which  by  experimenting 
we  found  gave  opportunity  to  change 
records.  (Again  a  trained  mind  at  work.) 

It  would  be  most  interesting  to  set 
this  film  and  "Ships  of  Sydney"  together 
before  a  jury  and  get  the  verdict.  Also 
it  would  be  interesting  to  add  "Porpoise 
Oil"  and  "Eclipse  Over  Peru"  and  then 
ask  a  verdict.  But  we  do  not  give  rat- 
ings, like  that.  Let  it  stand  that  there 
are  listed  four  extremely  beautiful 
films,  any  one  of  which  could  qualify 
for  first. 

In  "Poland"  use  is  made,  judiciously, 
of  lap  dissolves,  and  one  is  as  beautiful 
as  could  be  imagined. 

Another  Scottish  film  was  received  on 
the  same  day  with  Poland — and  this, 
"Hell  Unltd.",  was  sent  by  its  producer, 
Norman  McLaren,  of  Glasgow,  with  the 
full  knowledge  that  it  might  arrive  too 
late.  However,  it  was  screened! 
HELL  UNLTD 

Another  anti-war  film,  almost  a  paci- 
fist film  and  certainly  with  communistic 
tendencies.  But  it  is  a  strong  and  able 
preachment.  It  is  brutal  in  the  way  it 
hammers  its  points  home,  and  it  is  clever 
in  some  of  its  symbolism.  It  is  also  hor- 
rible in  parts. 

We  understand  that  it  has  been  ex- 
hibited quite  extensively  in  and  about 
Glasgow,  and  its  return  is  requested  as 
soon  as  possible  on  account  of  future 
commitments. 

A  second  screening  of  this  Interna- 
tional Program  was  held  on  Saturday, 
April  9th,  at  the  Seventh  of  our  Sub- 
scription Evenings. 

Amateurs  Give  Support 

It  is  a  great  tribute  to  the  amateurs 
of  the  world  that  such  support  was  given 
both  to  our  Ninth  Annual  Movie  Party 
and  to  the  International  Amateur  Movie 
Show,  particularly  as  there  are  no 
awards  other  than  a  bit  of  leader,  read- 
ing "Exhibited  at  " 

And  there  was  no  promise  that  any 
particular  film  would  be  screened.  So 
that  it  proves  definitely  that  the  amateur 
is  a  lover  of  his  hobby,  and  that  those 
expressions  of  goodwill,  received  at  the 
Eighth  (and  again  at  the  Ninth)  An- 
nual Movie  Party,  were  not  empty  words, 
but  definitely  were  evidences  of  a  desire 
to  lend  a  fellow   a   hand,"'  for  many 


hands  turned  to  and  aided,  else  these 
shows  could  not  have  been. 

The  advance  notices  of  the  two  shows 
— the  Ninth  Annual  and  the  Interna- 
tional-— of  which  we  received  copies  were 
47,  and  they  came  from  Hollywood  to 
the  west  and  from  the  Netherlands  to 
the  east — and  as  an  indication  of  the 
work  involved,  our  postage  item  alone 
has  totaled  better  than  $50!  That's  a 
lot  of  letters! 

Started  from  Scratch 

The  International  Show  was  started 
from  absolute  scratch,  and  developed 
handsomely  into  an  amazingly  interest- 
ing program. 

One  very  significant  point  should  be 
brought  out.  The  consensus  of  opinion 
of  the  jury,  after  viewing  some  thirty- 
five  films  for  the  Ninth  Party,  and  of 


OWNERS  of  magazine  cine-kodaks 
who  wish  to  do  work  of  utmost  pre- 
cision will  find  many  and  varied  uses 
for  a  new  focusing  finder  for  this  cam- 
era, just  announced  by  Eastman  Kodak 
Company. 

The  device,  which  is  of  cast  aluminum 
and  weighs  only  8%  ounces,  slips  in- 
side the  camera  just  as  a  film  magazine 
does.  An  eyepiece  projects  at  the  rear. 
When  a  knob  on  the  side  of  the  finder 
housing  is  slid  forward,  a  section  of  the 
lens  field  is  seen  at  high  magnification. 


all  with  whom  we  have  talked  who  had 
viewed  one  or  both  programs,  was  that 
the  amateur  should  not  compete  with 
Hollywood  or  Elstree  in  the  photoplay 
field,  but  should  confine  himself  to  docu- 
mentaries, educationals,  travelogs,  and 
allegoricals,  should  experiment  and  play 
with  the  abstract,  but  the  dramatic  and 
musical  should  be  left  to  those  who  have 
at  their  disposal  the  money  to  produce 
their  best  conception  of  perfection,  for 
certainly  none  of  the  amateurs  that  we 
know  have  thousands  to  spend,  to  say 
nothing  of  millions. 

And  now  both  the  Ninth  Party  and  the 
International  Show  are  over  and  done. 
They  were  good,  and  our  thanks  are 
given  to  those  who  helped  tremendous- 
ly! 

We  will  turn  our  eyes  to  1939. 


which  makes  critical  and  positive  focus- 
ing a  simple  operation.  When  this  knob 
is  pushed  to  the  rear  the  finder  shows  the 
actual  picture  field — regardless  of  which 
lens  is  being  used. 

The  focusing  finder  will  be  of  particu- 
lar use  with  the  new  Cine-Kodak  tele- 
photo  lenses  which  have  a  red  extension 
for  making  extreme  close-ups  beyond  the 
limits  of  the  engraved  focusing  scale. 
Also  it  will  be  helpful  in  title  making. 
To  use  it  a  tripod  or  other  firm  support 
for  the  camera  is  necessary. 


Cine  Kodak  Secures  Added  Range 
in  New  Eastman  Focusing  Finder 


206     American  Cinematographer     •     May,  1938 


Bell  &^  Howell  Announces  16mm, 
Projector  IVith  Powerful  Arc 


THE  news  of  the  month  for  serious 
users  of  IGmm.  films  in  the  educa- 
tional and  industrial  fields  is  the 
anouncement  that  Bell  and  Howell  has 
developed  a  professional-quality  16mni. 
sound  projector  using  a  powerful  aic 
lamp  as  the  projection  light  source.  The 
new  machine  is  known  as  the  "Filmoarc," 
and  will,  it  is  understood,  be  available 
for  delivery  in  June. 


It  has  been  observed  that  Ifimm.  of 
late  has  been  growing  more  and  more 
into  the  standard  format  for  educational 
and  industrial  film  work.  This  develop- 
ment may  be  counted  on  to  increase  with 
the  introduction  of  this  needed  equip- 
ment for  presenting  16mm.  in  large 
auditoriums,  halls  and  theatres. 

It  is  significant  that  these  serious,  non- 
amateur  uses  of  16mm.  have  been  closely 


interrelated  with  the  development  of 
higher-powered  projection  equipment. 
When  the  format  was  originated,  a 
decade  and  a  half  ago,  the  projection 
equipment  available  was  .scarcely  ade- 
quate even  for  home  use. 

But  as  100  and  250  watt  projection 
globes  gave  place  to  .500  watt  units,  the 
use  of  16mm.  classroom  and  exploitation 
film  began  to  grow  general.  As  the.se 
equipments  were  succeeded  by  750  and 
1000  watt  light-sources,  and  16mm. 
sound-on-film  became  available,  the  re- 
duced format  film  took  another  and 
great  forward  stride. 

But  even  these  relatively  powerful 
units  seemed  inadequate  to  meet  the  de- 
mands of  showing  16mm.  films  to  really 
large  audiences. 

Limit  Near  End 

It  appeared,  however,  the  practical 
limit  had  been  reached  in  the  1000  watt 
projection  units.  The  only  possible 
method  of  increasing  illumination  with- 
out a  disproportionate  increase  in  heat 
was  the  use  of  an  arc  as  a  light  source. 
Several  users  of  Kodachrome  films  also 
desired  a  colder-toned  light  source  for 
accurate  projection  of  color. 

This  new  arc  projector  is  the  answer 
to  these  demands.  It  is,  according  to  the 
manufacturers,  definitely  a  new  design, 
rather  than  an  existing  type  with  a 
different  light  source. 

The  projection  mechanism  is  in  general 
similar  to  the  1000  watt  model  130  Film- 
osound  projector.  It  has,  however,  been 
redesigned  to  suit  it  to  the  arc  illuminant. 
This  illuminant,  which  draws  approxi- 
mately 35  amperes  across  the  arc,  pro- 
duces nearly  four  and  a  half  times  as 
much  screen  brightness  at  any  given 
throw  as  does  the  1000  watt  incandescent 
globe  previously  counted  the  most 
power  sub-standard  illuminant. 

The  new  projector  is  considerably 
larger  than  any  previous  16mm.  equip- 
ment, being  virtually  out  of  the  portable 
class.  Two  types  of  mountings  are  avail- 
able: a,  semi-portable  mounting  in  which 
the  machine  stands  on  four  extensible 
legs,  and  a  semi-permanent  mount  in 
which  the  projector,  amplifier  and  recti- 
fier are  carried  on  a  tubular  metal 
carriage,  comparable  to  the  stands  used 
for  35mm.  theatre  equipment. 

Specially  Designed  Arc 

The  arc  employed  has  been  specially 
designed  for  the  service.  It  burns  two 
special  carbons,  and  employs  a  parabolic 
mirror  in  place  of  the  conventional  con- 
densing-lens  system.  Once  the  arc  is 
struck,  an  automatic  motor-driven  feed 


Nkvi  Bell  and  Howell  filmoarc  lOmm,.  arc  lamp  ftoitml-on-film  projector  in  the  model 
which  includcH  an  adjustable  leg  stand  for  maximum  portability. 


May,  1938 


American  Cinematographer  207 


mechanism  feeds  the  carbons  to  maintain 
a  uniform  arc-gap. 

Manual  adjustments  of  both  carbons 
are  provided,  together  with  a  special 
visual  monitoring  systen>  which,  by 
means  of  a  pinhole  aperture  and  a  mirror 
projects  an  image  of  the  two  carbons 
on  to  a  ruled  white  card.  As  long  as  the 
images  of  the  carbons  coincide  with  th'i 
rulings,  the  arc  is  burning  at  its  maxi- 
mum efficiency. 

Other  external  controls  permit  vary- 
ing the  feeding  speed  of  the  mechanism, 
as  well  as  focusing  the  arc  and  the 
mirror  for  efficient  distribution  of  light. 

Tho  carbons  are  easily  replaced,  no 
tools  being  required.  A  valuable  safety 
feature  is  the  fact  that  the  arc  can  only 
burn  when  the  lamphouse  door  is  closed. 
When  the  door  is  opened,  the  arc  is 
automatically  extinguished,  the  rectifier 
circuit  broken,  and  a  small  pilot-light 
within  the  lamphouse  is  turned  on. 

In  addition  to  the  familiar  safety- 
shutter  provided  in  all  sub-standard 
projectors,  this  model  is  fitted  with  a 
regulation  "douser"  between  the  lamp- 
house  and  film  aperture.  For  obvious 
reasons  no  "still  picture'"  projecting  fea- 
ture is  provided. 

The  projection  mechanism  is  of  familiar 
Bell  and  Howell  type.  In  this  model  the 
motor  which  drives  the  projection  move- 
ment is  placed  well  in  front  of  the  lamp- 
house.  A  special  cooling  fan  is  provided 
which  drives  a  strong  blast  of  cool  air 
through  a  channel  between  the  aperture 
and  lamphouse. 

For  all  its  power,  the  new  projector 
does  not  appear  to  expose  the  film  to  as 
much    heat   as   do    some    much  lower 
powered  incandescent  installations. 
Two  Speeds  Provided 

Both  the  standard  24-frames-a-second 
sound  speed  and  16-frames-a-second 
silent  speed  are  provided.  The  selection 
is  made  by  a  two-throw  switch  on  the 
motor.  Any  16mm.  reel  up  to  1600  foot 
capacity  can  be  accommodated. 

Rewinding  is  done  by  a  separate  motor 
geared  to  the  take-up  arm,  much  as  in 
the  case  of  the  earlier  Model  130  Filmo- 
sound.  This  cannot  be  brought  into  opera- 
tion except  when  the  driving  motor  is 
turned  off  and  the  machine  arranged  for 
rewinding. 

The  film-moving  mechanism  displays 
all  of  the  accustomed  Bell  and  Howell 
features,  including  the  9-to-l  shutter 
ratio,  the  side-tension  registration,  and 
the  "floating"  sprocket  guards  which, 
with  the  film-gate,  open  automatically 
as  a  single  lever  is  moved.  In  this  re- 
spect the  operation  of  the  new  projector 
i3  identical  with  that  of  any  previous 
Filmo  projector. 

The  sound  equipment  is  identical  with 
that  of  the  de  Luxe  Model  130  Filmo- 
sound.  Its  amplifying  and  control  sys- 
tems are  housed  in  a  case  mounted  on 
the  stand  below  the  projector.  A  high- 
fidelity  type  amplifying  system  with 
twin  permanent  magnet  type  speakers  is 
provided. 

The  amplifier  circuit  provides  for  the 
use  of  two  projectors  with  professionally 
smooth  change-over  from  one  pick-up  to 


the  other.  Provision  is  also  made  for 
using  the  amplifier  system  in  conjunction 
with  a  crystal  microphone  as  a  public- 
address  system,  or  for  amplifying  from 
a  separate  disc-turntable  pick-up  for 
accompanying  silent  films. 

Such  refinements  as  tone-control,  and 
the  like  are  of  course  provided,  and  the 
50-watt  output  is  ample  for  a  very  large 
auditorium. 

Guard  Against  Mistakes 

The  manufacturers  have  provided 
against  any  possible  mistakes  in  wiring 
the  machine.  Each  connection,  whether 
to  projection  mechanism,  amplifier,  AC- 
DC  rectifier  (for  the  arc  lamp)  lamp- 
house,  speakers,  and  so  on  will  only  fit 
in  its  proper  terminals. 

It  is  recommended  that  the  circuits 
upon  which  this  machine  is  operated  be 
fused  for  a  load  of  35  amperes. 

It  is  possible,  however,  to  divide  the 


load  between  several  circuits  if  necessary, 
as  projection  drive,  lamp  current  rectifier 
and  sound  amplifier  each  draw  current 
from  a  separate  connection,  and  each  may 
of  course  be  connected  to  a  separate 
circuit. 

Replacement  carbons  are  conveniently 
packed  in  a  special  mailing  container 
holding  enough  carbons  for  45  hours  of 
burning.  This  is  stated  to  be  identical 
with  the  average  burning  life  of  a  1000 
watt  projection  globe;  the  carbons  cost 
somewhat  less  than  the  globe. 

With  this  truly  professional  16mm. 
projector  available,  it  would  appear  that 
the  dawn  of  the  much-touted  use  of 
16mm.  in  small  theatres  should  be  .it 
hand.  Certainly,  those  who  have  opposed 
the  idea  because  they  felt  no  adequate 
theatrical  16mm.  projector  was  available 
no  longer  have  a  basis  for  their  con- 
tention. 


New  Enlarger-Projector  Is 

Ready  for  Distribution 

Among  the  new  and  exclusive  features 
available  in  the  Hollywood  Enlarger- 
Projector  is  a  revolving  head,  new  type 
negative  holder,  a  heat  absorbing  filter, 
new  type  projection  lamp,  iris  diaphragm, 
double  condenser  system,  spiral  focusing 
mount,  extra  large  baseboard,  double 
plug  receptacle,  and  an  extra  long  "15- 
foot''  cord. 

The  fine  imported  F4.5  lens  furnished 
gives  sharpness  throughout  the  print 
even  at  maximum  degree  of  enlargement. 
An  extension  arm  allows  head  to  be  tilted 
sideways  for  elongation  or  caricature 
enlargements  and  is  important  when 
used  for  copying  or  micro-photography. 
It  takes  but  a  few  minutes  to  convert  the 
enlarger-projector  into  a  micro-photog- 
raphy or  copying  stand. 

Viewing  by  projection  is  made  easy 
with  the  device,  for  with  a  simple  turn 
of  the  revolving  head  it  is  quickly  con- 
verted into  a  fine  projector.  Either  doubl;; 
or  single  frame  35mm.  positive  film  may 
be  projected.  The  2-inch  focus  lens  will 
project  up  to  a  4  by  5  foot  picture.  The 


Hollywood  photo 


Hollywood  Photo  Supply  Company,  5855 
Hollywood  boulevard,  can  give  further 
details. 


St.  Louis  Amateur  M.P.  Club 

Reel  News,  bulletin  of  the  St.  Louis 
Club,  for  April  is  a  credit  to  its  creators, 
headed  by  Editor  R.  T.  Williams.  Every 
line  of  the  two-column  two-page  sheet  is 
of  the  "justified"  sort.  On  page  1  the 
columns  are  2V4,  inches  and  4V2  inches 
wide.  The  columns  on  the  second  page 
each  are  3%  inches  wide.  There  are  prob- 
ably 1500  words  in  the  issue. 

The  club  announces  that  the  issue  will 
be  sent  to  150  owners  of  motion  picture 
cameras  who  are  not  members  and  bear- 
ing an  invitation  to  attend  the  club's 
meeting.  It  is  an  idea  that  seems  worthy 
of  emulation  by  other  organizations. 

The  April  meeting  featured  a  demon- 
stration of  the  new  Eastman  Sound 
Kodascope  Special  by  J.  C.  Karl  of  the 
Eastman  company.  Treasurer  C.  E. 
Valier  discussed  technically  and  prac- 
tically lenses  and  their  use.  The  trick 
film  made  at  the  preceding  meeting  was 
shown. 


enlarger-projector 


208     American  Cinematographer     •      May,  1938 


Be  Kind  to  Old  Man  Tempo: 
For  He  Can  Either  Make 
or  Br e all  TJiat  Picture 
You  Rate  So  Highly 


TEMPO  in  motion  pictures — profes- 
sional or  amateur  —  is  like  an 
"Arabian  Nights"  genie:  it  can 
work  either  for  you  or  against  you. 
Since  it  is  rather  less  tangible  than  some 
of  the  more  familiar  factors  like  photog- 
raphy, composition  and  titling,  tempo  is 
all  too  often  overlooked  by  the  amateur 
filmer.  And  when  tempo  is  overlooked 
it  usually  works  against  your  picture. 

There  is  really  no  reason  why  tempo 
should  be  overlooked.  It  is  nothing  mys- 
terious; once  you  become  conscious  of  its 
existence  it  quickly  becomes  something 
you  can  understand  and  with  which  you 
can  work. 

To  begin  with,  the  dictionary  defini- 
tion of  tempo  applies  surprisingly  well 
to  its  use  in  cinematics.  Webster  calls 
it  "rate  of  movement;  specifically  .  .  . 
the  pace  at  which  a  piece  or  passage 
moves." 

To  make  this  definition  wholly  applica- 
ble to  motion  picture  tempo  just  one 
word  need  be  added,  so  that  the  quotation 
would  read  "...  the  pace  at  which  a 
piece  or  passage  apparently  moves." 

For  in  any  kind  of  cinematography 
we  deal  not  alone  with  objects  and  mo- 
tions as  they  actually  are,  but  as  they 
appear  to  be  on  the  screen. 

In  the  abstract  cinematic  tempo  is 
founded  on  a  combination  of  two  factors : 
the  actual  dynamic  content  of  a  scene 
and  the  length  of  time  that  scene  is  on 
the  screen.  Control  these  and  you  con- 
trol tempo. 

Relativity 

In  the  concrete,  tempo  depends  upon  a 
combination  of  three  familiar  and  tangi- 
ble things.  First  but  by  no  means  of 
greatest  importance,  the  actual  rate  at 
which  the  object  photographed  moves. 
Second,  its  proximity  to  the  camera. 
Third,  the  angle  at  which  it  moves  in 
relation  to  the  camera. 

By  varying  the  combination  of  these 
three  factors  you  can  accelerate  or  re- 
tard the  tempo  of  almost  any  photo- 
graphed movement. 

The  most  elementary  application  of 
tempo  is  something  everyone  who  has 
got  past  the  kindergarten  stage  of  movie- 
making should  know  without  being  told. 
It  is  that  any  moving  object  appears  to 
move  faster  in  proportion  as  the  camera 
is  closer  to  it. 

There's  an  easy  way  to  prove  this. 
Simply  take  your  camera  and  go  out 
and  make  an  extreme  long  shot  of  some 


familiar  object  you  know  is  moving  fa.st. 
Then  make  an  extreme  close-up  of  some 
similar  object  you  know  is  actually  mov- 
ing far  more  slowly.  If  you  want  a 
suggestion  as  to  convenient  test  subjects 
I'd  suggest  trains;  they  are  everywhere, 
and  you  can  be  pretty  sure  of  finding 
fast  and  slow  ones  to  be  your  guinea- 
pigs. 

For  instance,  go  out  and  make  an  ex- 
treme long  shot — and  I  mean  a  really 
extreme  one,  where  your  camera  is  oo 
far  back  that  you  not  only  show  the 
whole  train  but  give  it  sufficient  room 
to  take  several  feet  to  pass  completely 
through  the  picture — of  the  fastest  ex- 
press that  passes  your  town. 

Then,  on  the  way  home,  stop  off  by  the 
railroad  yards  and  get  an  equally  ex- 
treme close-up  of  a  switch  engine  clank- 
ing past.  Again,  I  mean  a  really  ex- 
treme close-up;  one  in  which  the  engine 
more  than  fills  the  screen. 

Camera  Angles  and  Tempo 

When  the  film  comes  back  from  the 
laboratory  you  will  find  that  the  express 
which  you  know  actually  was  traveling 
from  sixty  to  a  hundred  miles  an  hour 
seems  to  be  moving  rather  slowly,  while 
the  switcher,  which  you  know  was  crawl- 
ing along  at  about  ten  or  fifteen  miles 
an  hour,  seems  to  be  going  much  faster. 

If  you  still  are  experimentally-minded 
try  a  few  more  shots  to  see  what  bear- 
ing camera  angles  have  on  tempo.  Shoot 
one  of  your  test-subjects  which  you 
know  will  be  moving  at  a  relatively  con- 
stant speed  throughout  all  your  "takes"; 
the  express  train  would  be  a  good  one, 
and  one  of  which  your  scenes,  once 
they've  served  their  purposes  as  tests, 
can  almost  always  come  in  handy  as 
"stock  shots." 

Make  long  shots,  medium  shots  and 
close-ups  of  this  object  moving,  in  each 
case,  first  directly  across  your  picture; 
second,  diagonally  toward  the  camera, 
and,  third,  directly  into  the  camera. 

In  the  previous  tests  you  found  that 
the  long  shots  gave  the  impression  of 
slowest  movement  and  the  close-ups  the 
fastest. 

Screen  Time 
In  this  series  you  will  find  that  the 
shots  showing  movement  directly  across 
the  screen  and  the  extreme  close-up  of 
the  object  coming  directly  into  the  lens 
give  the  illusions  of  fastest  movement, 
while  the  other  angles  give  progressively 
slower  tempos. 


Studying  all  of  these  shots,  you  will 
notice  one  very  important  fact:  that  the 
apparent  speed  of  a  movement  increases 
as  the  footage  of  the  scene  that  is,  the 
length  of  time  it  is  on  the  screen — da- 
creases. 

From  all  this  we  can  deduce  three 
basic  principles  for  making  any  move- 
ment appear  fast  on  the  screen.  First, 
show  it  in  a  close  shot.  Second,  show 
it  from  a  dynamic  angle — one  that  ac- 
centuates its  movement  within  the  frame. 
Third,  keep  its  duration  on  the  screen 
short. 

Once  you  understand  these  principle.- 
you  can  put  them  to  work  with  almost 
any  action.  For  instance,  suppose  you 
want  to  contrast  the  movement  of  one 
man  who  is  walking  along  calmly  with 
that  of  another  who  is  running  excitedly. 
You  would  show  the  one  action  in  long 
shots,  made  from  angles  that  minimized 
his  apparent  motion  within  the  frame. 

You  would  show  the  other  in  closer 
shots,  made  from  angles  that  emphasized 
his  motion  within  the  frame.  Your  scenes 
of  the  slowly  moving  man  would  be  of 
relatively  long  footage.  Your  shots  of 
the  runner  would  be  of  short  duration. 

Now,  if  you  wanted  to  build  up  the 
contrast  between  these  two  tempos  you 
would  naturally  intercut  the  scenes.  If 
you  wanted  to  build  up  the  tempo  of  the 
running  man's  scenes  you  would  begin 
with  moderately  distant  shots,  of  fairly 
long  footage,  and  with  each  succeeding 
cut  you  would  use  closer  shots  and  short- 
er ones,  until  perhaps  when  he  arrived 
at  his  goal,  you  would  use  just  the  short- 
est of  "flashes" — only  a  few  frames  long 
— of  a  big-head  close-up  of  his  face, 
rushing  straight  into  the  camera  until 
it  more  than  filled  the  screen.  Or,  sup- 
posing he  was  running  a  race,  a  similar 
"flash"  of  his  breast  breaking  the  finish 
tape. 

Direction  of  Movement 

In  contrasting  these  movements  you 
can  make  the  runner  seem  to  be  pursu- 
ing the  walker  or  to  be  dashing  madly 
in  the  opposite  direction.  This,  of  course, 
is  simply  a  matter  of  keeping  their  re- 
spective directions  of  movement  on  the 
screen  continuous.  If  one  is  to  pursue 
the  other,  both  should  move  across  the 
screen  in  the  same  direction;  if  they 
are  to  be  moving  oppositely,  make  them 
do  so  on  the  screen. 

Yet  another  point  worth  remembering 
in  connection  with  tempo  is  that  the 
power  of  the  cinema  lies  in  suggestion. 
You  don't  have  to  show  everything  as 
long  as  you  suggest  the  action. 

For  instance,  if  you  want  to  show  a 
person  entering  a  room  and  crossing  over 
to  talk  to  someone  on  the  other  side 
you  don't  have  to  waste  a  lot  of  footage 
showing  all  of  it. 

Make  a  shot  of  him  coming  through 
the  door;  then  cut  to  a  shot  of  the  second 
person  greeting  him,  as  the  first  man 
walks  into  the  scene.  Your  audience  saw 
him  enter,  and  saw  him  arrive — but  it 
doesn't  have  to  be  bothered  with  watch- 
ing him  amble  across  the  whole  darned 
room ! 

Similarly,  attention  to  suggestion  and 
(Continued  on  Page  210) 


May,  1938      •      American  Cinematographer  209 


Chicago  Cinema  Club 

The  annual  meeting  of  the  Chicago 
Cinema  Club,  one  of  the  country's  largest 
and  most  active  amateur  groups,  in  con- 
junction with  the  Bell  &  Howell  Company 
was  held  at  the  Rockwell  Auditorium 
March  17  and  18.  The  showings  were 
most  successful.  There  were  present  154 
on  the  first  night  and  149  on  the  second. 
Welcomes  were  extended  respectively  by 
O.  N.  (Ollie)  Wilton  and  Joseph  A.  (Joe) 
Dubray,  A.S.C. 

In  the  program  were  "To  the  Ships  of 
Sydney"  and  "Mount  Zao."  "While  the 
'Ships  of  Sydney'  film  was  fully  appre- 
ciated and  the  deserving  quality  of  the 
original  realized  by  the  large  number  of 
movie  'sharks'  present,"  writes  one  who 
attended  both  showings,  "the  marvelous 
angle  and  filter  work  of  Tsukamoto 
aroused  the  two  audiences  to  the  highest 
pitch  of  enthusiasm.  This  film  really 
'bowled  'em  over,'  and  obviously  was  the 
highlight  of  both  sessions." 

H.  A.  Wilde  of  the  Bell  &  Howell  Com- 
pany devoted  considerable  time  and  effort 
to  selecting  and  timing  musical  back- 
grounds for  both  films,  including  Japan- 
ese recording  for  "Mount  Zao,"'  and  the.se 
fitted  the  moods  so  perfectly  it  might 
have  been  sound  film.  The  equipment,  of 
course,  comprised  two  turntables  and 
faders. 

The  program  was  as  follows: 
Musical  prelude. 

"Cast  Adrift  and  How."  Starting  from 


scratch,  so  to  speak,  by  gazing,  with 
more  or  less  breathless  awe,  at  a  "colos- 
sal production"  of  thirty  years  ago. 

"Baby  Stuff."  A  movie  production  of 
today,  in  monochrome  and  color,  made 
with  the  F'ilmo  8.  A  small  but  very  busy 
subject,  made  with  a  small  camera  but 
it's  "colossal"  to  mother  and  dad! 

"Rock  and  Ice."  A  film  sound  Library 
subject  of  superlative  photography  and 
an  example  of  pictorial  beauty  obtained 
by  the  skillful  use  of  filters. 

Filters  and  Their  Uses.  A  practical 
demonstration  of  various  photographic 
filters  and  their  proper  application,  by 
Paul  Foote  and  Malcolm  Townsley,  of  the 
B&H  engineering  division. 

"Ships  of  Sydney,"  by  James  Sherlock. 
Grand  Prize  American  Cinematographer 
Amateur  Contest,  1937.  A  Kodachrome 
dupe  from  the  original  made  with  a 
Filmo  70-D  camera. 

Amateur  Club  Activities  in  Europe.  A 
few  minutes  of  comment  by  Joe  Dubray, 
A.S.C,  who  has  just  returned  after  nine 
months  of  travels  in  European  countries. 

"Mount  Zao,"  by  Khoji  Tsukamoto. 
Photography  Prize,  American  Cinema- 
tographer Amateur  Contest,  1937,  made 
with  Filmo  70  camera. 

"Colorful  Bali  in  Color,"  by  Bill 
Holmes.  The  first  successful  Kodachrome 
of  this  far-east  paradise,  with  Bill's  en- 
tertaining description  of  his  travels. 

Closing  remarks.  Projection,  Model  130, 
1000  watt  Film  sound  and  8mm.  Model 
122 A  Projectors. 


Minneapolis  Cine  Club 

The  meeting  of  the  Minneapolis  Cine 
Club  April  19  opened  with  a  6:15  dinner. 
The  highlights  of  the  screen  entertain- 
ment were  color  films  of  a  recent  flight 
to  the  West  Indies  photographed  by 
President  Leslie  R.  Olsen  and  the  latest 
attempt  at  8mm.  animation  by  Paul 
F'rantzich  and  Ray  Rieschl,  professional 
sign  writers.  Jointed  cutouts  employed  iii 
the  filming  were  on  display.  John  Leffler 
presented  a  special  sound  feature. 

Plans  were  completed  for  the  Minne- 
apolis Cine  Club's  first  annual  movie 
party.  It  was  to  be  held  on  the  29th  and 
it  was  decided  admission  would  be  by 
ticket  only. 

Los  Angeles  8mm.  Club 

The  features  of  the  April  meeting  of 
the  Los  Angeles  8mm.  club  were  the 
appearance  of  Harry  C.  Pearson,  pro- 
ducer of  "African  Holiday,"  accom- 
panied by  Mrs.  Pearson,  and  a  club  con- 
test. In  the  latter  there  had  been  so 
many  films  submitted  a  committee  re- 
duced the  number  to  ten. 

Winner  of  the  first  prize,  which  was 
given  by  Dietrich  Post  &  Co.,  coast 
distributors  for  Wrico  title  lettering 
equipment,  was  Randolph  B.  Clardy's 
film,  "It  Always  Rains  on  Sunday." 
Second  prize  went  to  Theodore  Mac- 
Murray's  "Aerophobia,"  and  third  to  Ed 
Pyle's  "Beginner's  Luck,"  a  collection 
of  scenes  showing  beginners'  film  faults 
which,  according  to  the  titles,  club  mem- 
bership had  taught  him  not  to  commit. 

The  appearance  of  Mr.  and  Mrs.  Pear- 
son was  purely  informal,  with  no  set 
speeches  by  either.  Instead  of  speeches, 
the  members  of  the  club  asked  ques- 
tions, and  if  it  had  not  been  for  the  tact- 
ful manner  in  which  President  Cornell 
closed  the  questioning,  they  might  still 
be  there. 

The  visit  was  in  recognition  of  the 
theatre  party  of  a  hundred  members  and 
guests  of  the  club  who  had  attended  the 
local  theater  on  the  opening  day  of 
"African  Holiday." 

No  Loss  from  Heat 
Perhaps  one  of  the  more  interesting 
questions  answered  by  Pearson  was  how 
he  took  care  of  his  film  while  traveling 
through  the  heat  of  the  jungles  for 
months.  Pearson  quite  surprised  every- 
body when  he  explained  he  did  nothing 
except  carry  the  film  in  special  insulated 
boxes  which  he  opened  in  the  cool  of 
each  evening  and  closed  in  the  morning 
before  the  heat  of  the  day. 

"That,"  said  Pearson,  "constituted  our 
only  effort  to  combat  the  tropical  film 
difficulties  you  hear  so  much  about. 
Frankly,  I  think  some  of  the  difficulties 
must  be  slightly  exaggerated,  for  I  did 


The  Littles  Express  Appreciation 

MR.  AND  MRS.  DUNCAN  MacD.  LITTLE  have  reque.sted  the  Editor  of 
this  magazine  to  express  their  grateful  acknowledgment  of  the  assist- 
ance and  cooperation  rendered  by  those  fi  lends  who  worked  with 
them  for  the  success  of  their  Ninth  Annual  Movie  Party  and  also  of  the 
International  Amateur  Movie  Show,  which  they  arranged  for  the  Division  of 
Film  Study  of  Columbia  University  in  the  City  of  New  York,  both  of  which 
programs  were  made  an  integral  part  of  the  "Motion  Picture  Paiade"  con- 
ducted by  Film  Study. 

Mr.  and  Mrs.  Little  wish  also  to  thank  those  many  active  and  energetic 
movie-makers,  both  individuals  and  organizations,  who  contributed  films  for 
either  or  for  both  events. 

They  regret  that  time  did  not  allow  that  all  of  the  worthy  and  interesting 
films  could  be  screened;  and  they  assure  those  who  for  one  reason  or  another 
could  not  attend  any  of  the  several  sessions  of  the  two  events  that  it  is 
doubful  if  ever  there  have  been  two  programs  of  distinctly  amateur  films,  all 
of  such  high  standards,  from  every  angle. 

As  soon  as  it  can  be  done  Mr.  and  Mrs.  Little  will  write  to  each  and  all 
contributors  and  cooperators,  far  and  near,  personally  to  thank  them;  but 
it  must  be  realized  that  such  a  number  of  letters  requires  some  time  for 
writing,  and  this  means  is  taken  temporarily  to  express  their  deep  apprecia- 
tion; and  also  to  suggest  their  hope  in  1939  to  present  even  bigger  and  better 
programs — again  with  the  aid  of  their  friends. 


210     American  Cinematographer 


May,  1938 


tempo  can  bridge  gaps  in  continuity, 
not  lose  a  single  foot  of  film  from 
climatic  conditions." 

Also  of  great  interest  was  Pearson's 
relating  of  the  manner  in  which  he  and 
Mrs.  Pearson  photographed  the  sensa- 
tional snake  ceremony  that  is  one  of  the 
highlights  of  their  motion  picture. 

"We  spent  six  weeks,"  explained  Pear- 
son, "gaining  the  confidence  of  the  na- 
tives who  constitute  the  small  snake 
brotherhood  which  performs  this  cere- 
mony. Finally,  they  realized  we  meant 
no  wrong,  so  they  set  out  to  capture  the 
snakes  for  the  dance.  Pythons,  black 
mambas,  cobras,  and  many  other  vari- 
eties of  snakes  were  caught  and  brought 
into  camp. 

"After  about  two  weeks  of  this  they 
were  ready.  The  head  man  of  the  group 
then  mixed  a  secret  medicine  from  herbs 
known  only  to  himself.  He  cut  the  arms 
of  his  men  and  rubbed  the  medicine  into 
the  wounds.  A  high  temperature  re- 
sulted, and  the  men  were  then  immune 
to  the  poison  of  snake  bite.  They  let 
the  snakes  bite  them  freely  with  no 
harm.  You  see,  they  merely  did  in  ad- 
vance what  we  do  after  we  are  bitten. 
They  are  really  quite  smart,  if  you 
ask  me." 

One  of  the  newly  electrically-powered 
Eumig  8mm.  cameras  was  displayed,  and 
William  Stull,  A.S.C.,  exhibited  a  reel 
of  film  made  in  the  course  of  testing 
that  camera  in  preparing  an  article  for 
the  American  Cinematographer. 

The  Blilletin  this  month  contained  over 
two  thousand  words.  There  were  contri- 
butions from  the  editor,  Jane  Gay — 
whose  name,  incidentally,  is  entitled  to 
credit  in  a  masthead;  Milt  Armstrong, 
former  secretary;  Sergt.  Teorey,  the 
Marine  foreign  correspondent  of  the  Fil- 
ter, and  "The  Spotlight  of  Niersbach," 
who  talks  about  filters  and  other  things. 

Sergt.  Teory,  writing  from  Panama, 
says  no  visitor  should  miss  seeing  the 
markets,  alive  with  color,  as  the  natives 
move  around  the  stalls. 

The  sergeant  also  visited  the  third 
meeting  of  the  Washington  8mm.  Club, 
at  which  35  members  were  present.  In 
response  to  an  invitation  he  explained 
the  workings  of  his  home  club.  He  must 
have  put  over  the  talk  for  the  local  out- 
fit, for  upon  leaving  he  was  relieved  of 
title  card,  membership  card,  film  check 
sheet  and  his  last  copy  of  Thru  the  Filter. 
The  sergeant  intimated  he  might  have  an 
opportunity  to  scout  around  points  in 
Virginia  and  Pensylvania  looking  for 
picture  possibilities. 

▼ 

Orange  County  8mm  Club 

The  Orange  County  8mm.  Club,  lim- 
ited to  users  of  8mm.  cameras,  was  or- 
ganized March  16  with  2.5  paid-up  mem- 
bers and  applications  pending  for  22 
more.  Dues  were  fixed  at  $3  yearly.  A 
limitation  was  placed  on  the  membership 
of  100.  Meetings  will  be  held  on  the 
third  Wednesday  of  each  month.  At  the 
May  meeting  a  prize  will  be  given  for 
the  best  100-foot  picture  submitted. 

The  officers  are  Dr.  Newell  L.  Moor«, 
president;    Dr.    Cassius   E.   Paul,  vice 


president;  .Jack  Kahler,  secretary;  Ken- 
neth E.  Morrison,  treasurer.  Board  of 
control.  Dr.  Moore,  chairman;  E.  M. 
Sundquist,  Robert  N.  Hockaday  and 
.Jack  Kahler. 

Jack  Kahler,  Secretary. 
T 

Los  Angeles  Cinema 

The  meeting  of  the  Los  Angeles  Cinema 
Club,  held  at  the  Southern  California 
Edison  Company  auditorium,  April  5,  wa? 
called  to  order  at  7:30  p.m.  by  Presi- 
dent Gram. 

An  announcement  was  made  of  a  sp3- 
cial  demonstration  for  next  meeting.  The 
May  meeting  contest  was  announced. 
Entries  will  be  accepted  only  from  those 
who  have  not  previously  won  a  prize. 
Films  cannot  be  over  four  hundred  feet. 

The  test  problem  films  of  Mr.  Mitchell 
and  Mr.  Pyle  on  enlarging  eight  to  six- 
teen were  run  and  followed  by  a  dis- 
cussion. Mr.  Walker  demonstrated  still 
color  slides  showing  effect  on  over  and 
under  exposure  on  color.  Mr.  Memory 
read  an  article  written  by  President 
Gram  on  Cinema  Clubs,  printed  in  the 
American  Cinematographer.  Films  were 


Ampro's  Model  U  Projector 
A.C.  Operated  Sound  on  Film 

Ampro  is  extending  its  line  with  a 
new  A.C.  operated  sound-on-film  16mm. 
motion  picture  projector  with  a  750  watt 
lamp  projection. 

The  Model  U  is  designed  for  A.C.  cur- 
rent (where  D.C.  is  not  required)  and  is 
ideal  for  classroom  instruction,  audi- 
toriums, industrial  sales  w^ork  and  home 
entertainment  \vhere  maximum  illumina- 
tion and  performance  are  required.  It  is 
light,  compact,  portable  and  is  housed  in 
two  easy  carrying  cases — projector  ^vith 
amplifier  in  one  case,  the  speaker  in  the 
other. 

EiTibodied  in  the  new  model  are  several 
innovations  such  as  a  speaker-hiss  elim- 
inator which  enables  the  operator  to  ob- 
tain full  volume  without  hiss  even  at 


Ampro  Model  U  Projector 


submitted  for  criticism  by  Mrs.  Durand 
and  Mr.  Herr. 

Mr.  Scarborough  of  Winters,  Inc., 
spoke  interestingly  and  informingly  on 
filters  and  ran  a  film  on  pola  screen. 

Through  the  courtesy  of  Fred  Cham- 
pion of  the  Southern  California  Gas 
Company  a  film  on  the  recent  flood 
was  run. 

RICHARD  STITH,  Secretary. 
▼ 

Cinema  Club  of  San  Francisco 

The  regular  monthly  meeting  of  the 
San  Francisco  Cinema  Club  was  held 
April  26  at  the  club  rooms  of  the  Cali- 
fornia Camera  Club,  45  Polk  Street. 

Members  Bill  Grant  and  Dr.  Alexander 
showed  some  interesting  Kodachrome 
pictures  of  a  recent  trip  to  Mexico. 

The  pre-meeting  was  held  at  7  p.m.  for 
those  who  brought  films  for  constructive 
criticism. 

With  deepest  regret  the  passing  was 
announced  of  Fellow  Member  Harry 
Miller  of  Burlingame.  W'hile  on  a  trip  to 
Mexico  he  suffered  a  heart  attack  that 
proved  fatal. 

E.  G.  PETHERICK,  President. 


low  voltage  and  an  amplifier  signal  light 
which  indicates  when  amplifier  is  on  and 
also  designates  location  of  volume  and 
tone  control  knobs  on  the  amplifier  when 
rooms  are  darkened. 


New  Willoughby  Catalogue 

Willoughby's  of  110  West  Thirty-sec- 
ond street.  New  York,  has  issued  an 
eighty-page  "Equipment  and  Accessories 
for  Better  Pictures."  The  catalogue  con- 
tains several  hundred  illustrations  of 
photographic  equipment.  In  its  6  by  9^/4 
inch  size  the  book  packs  a  mass  of 
information. 


The  third  Rollei  Salon  (first  being 
shown  at  Rockefeller  Center,  New  York 
City,  May  2  to  8)  will  be  shipped  to  the 
West  Coast  late  in  May,  where  it  will 
be  displayed  at  the  Photo  Art  Print 
Gallery,  Monadnock  Building,  San  Fran- 
cisco, from  June  1  to  June  14. 


Be  Kind  to  Old  Man  Tempo 

(Continued  from  Page  208) 
Suppose  you  want  to  show  me  going 
from  Hollywood  to  New  York.  The  trip 
itself  isn't  important;  the  fact  I  get 
there  is.  You  could  show  me  finishing 
packing  my  suitcase  and  starting  to  the 
door.  Then  you  could  see  me  buying 
my  ticket;  then,  passing  through  the 
station  gate,  while  the  camera  swung  to 
the  sign  announcing  the  train's  destina- 
tion. 

Next,  either  a  lap-dissolve  or,  better, 
perhaps,  a  fade-out  followed  by  a  fade-in 
on  the  New  York  skyline,  and  a  cut  to 
me  unpacking  my  bag.  Indisputably,  I 
have  crossed  the  continent  in  five  short 
-scenes ! 

There  are  plenty  of  similar,  simple 
tricks  for  making  old  man  Tempo  work 
for  you.  Watch  for  them  next  time  you 
go  to  a  professional  movie! 


May,  1938     •     American  Cinematographer  211 


kodascope 
modelG 


Model  g,  the  lU'west  iiieniln'r  of  tlic  E;istm;iii  fam- 
ily of  Kodascopes.  prox  ides  fjreat  j)rojecti<)n  ach  aiitages 
at  a  moderate  price. 

First,  "tailor-made  "  projection.  One  lens-lamp  com- 
bination, from  its  ti\e  a\ailal)le  lenses  and  three  lamps, 
will  provide  ju.st  the  screen  picture  size  iind  illumination 
needed  for  your  screen  and  "throw." 

NcMC  Convvnivnvi's  in  l^ritli'i-tiiui 

Movable  sprocket  clamps,  a  gate-clearing  knob,  and 
thread  light  make  threading  sim|)le.  Ihis  light,  con- 
trolled by  four-way  switch  shown  abo\  e,  prox  ides  illumi- 
nation for  threading,  rewinding  and  changing  reels. 

Tilting  is  positive  with  new  gear-oi)erated  device  in 


I'liis  iicir  fi)iir-iriii/  .iiritch 
coiilrols  thrfiul  liijlil.  mo- 
tor mill  projvrl ion  Idiiip. 
Illiiiiiiniitlon  is  proriiled 
for  llinading  and  rewind- 
ing— and  is  aiifomaticidly 
ml  off  irhen  projection 
lamp  in  turned  on. 


its  i)edestal  base.  Re\ersing  motor  allows  reverse  pro- 
jection- -and  film  can  be  halted  for  "stills."  Rewinding  is 
(piick  and  easy — just  jnill  out  rewind  lever. 

I'lus:  framing  knob  oilless  bearings  which  recpiire 
no  further  lubricating,  speed  control  knob.  .  .beautiful 
combination  finish.  .  operation  on  D.  C.  or  A.  C,  "15  to 
(50  cycle,  100-  to  b2.)-volt  lines. 

This  great  Eastman-made  projector,  complete  with 
'2-inch  /'.I. ()  lens  of  new  formula,  and  .5()0-watt  lamp,  is 
^l^.S.-lo.  Carrying  case,  designed  to  function  also  as  pro- 
jection stand,         At  your  Cine-Kodak  dealer's. 

Cinc-Kixhili-t,  K()(hisc(>f)rs,  and  Ciiir-Koddk  Film  are 
all  Eastiitan-niadr.  ilrsK/acd  to  work  loycther  and  backed 
1)1/  irorld-u'idc  Ea.stmati  serrice. 


EASTMAN    KODAK    COMPANY,  ROCHESTER, 


212     American  Cinematographer      •      May,  1938 


How  Movie  Clubs  May  Profit  by 
Maintaining  a  Stock  Shot  Library 


ONE  OF  THE  most  valuable  de- 
partments in  a  motion  picture  stu- 
dio is  the  library  of  "stock  shots." 
These  consist  of  scenic  and  atmospheric 
shots  made  all  over  the  world,  atmos- 
pheric long  shots  made  on  big  sets  used 
in  past  productions,  and  an  endless  vari- 
ety of  cinematic  odds  and  ends — air- 
planes, fire-engines,  fires,  ships,  boats, 
city  traflfic,  trains,  zeppelins,  submarines, 
explosions,  cattle,  horses  and  riders — -in 
fact  everything  and  anything  that  can 
be  photographed. 

When  a  script  calls  for  an  incidental 
scene  of  anything  of  that  nature  the  pro- 
ducer's first  thought  is  to  turn  to  the 
library  and  see  if  there  isn't  a  "stoclt 
shot"  vi^hich  can  be  used  for  it. 

If  there  is,  a  great  deal  of  time, 
trouble  and  money  can  be  saved  by  using 
that  shot  instead  of  sending  out  a  cam- 
era crew  to  make  the  scene  specially. 

Until  the  current  "Men  with  Wings" 
was  recently  started  as  a  Technicolor 
production,  practically  all  of  the  in- 
dustry's needs  of  aerial  war  scenes  were 
filled  by  stock  shots  made  incidentally 
in  the  filming  of  "Wings,"  "Hell's  An- 
gels," "Lilac  Time,"  "Dawn  Patrol,"  and 
a  few  similar  productions  of  a  decade 
ago. 

This  same  expedient  can  be  fully  as 
useful  to  the  amateur  as  to  the  pro- 
fessional. In  fact,  "stock  shots"  can 
sometimes  be  more  useful  to  the  home 
filmer,  since  his  budget  seldom  would 
permit  the  extra  expense  of  making 
some  incidental  scenes  unexpectedly 
necessary  for  his  productions,  especially 
if  he  had  to  travel  far  to  get  just  the 
one  scene. 

Good  Time  To  Start 

So  one  of  the  best  things  any  amateur 
can  do  is  to  begin  to  build  up  a  library 
of  stock  shots. 

Right  now  is  a  fine  time  to  start.  In 
most  parts  of  the  country  spring  finds 
the  home  filmer  with  his  last  season's 
pictures  pretty  well  cut  and  titled,  while 
the  weather  without  is  scarcely  condu- 
cive to  beginning  the  new  season's  cam- 
paign. 

So  why  not  employ  your  spare  time 
going  through  the  odd  scraps  of  film 
left  over  from  the  editing  of  last  sea- 
son's— and  the  previous  seasons'  film- 
ing? You  are  almost  sure  to  find  a  sur- 
prising variety  of  potentially  useful 
"stock  .shots." 

Every  time  this  writer  browses 
through  the  forgotten  footage  of  past 
years  he  manages  to  unearth  scenes  the 
very  making  of  which  he  has  forgotten, 
but  which  nevertheless  often  can  be 
used  excellently  to  fill  gaps  in  more  '•e- 
cent  efforts. 


Next,  segregate  these  odd  shots  ac- 
cording to  subject-matter.  Make  up  one 
reel  (it  can  begin  as  a  simple  laboratory 
spool)  of  landscapes;  another  of  rivers; 
a  third  of  beach  scenes;  another  of  boat- 
ing shots;  yet  others  of  trains,  planes 
and  so  on. 

Label  each  reel  with  a  gummed  paper 
label,  preferably  protected  by  a  cover- 
ing of  scotch  tape,  and  keep  your  stock 
shot  reels  together,  in  a  handy  box  or 
cabinet. 

Then  when  you  come  to  edit  your  next 
picture,  and  find  a  gap  in  the  continuity 
which  must  be  plugged,  all  that  is  neces- 
sary is  to  reach  for  the  appropriate 
stock  shot  reel,  run  it  and  select  a  shot 
that  will  serve  your  purpose. 

The  matter  of  keeping  these  stock 
reels  "alive"  and  whenever  possible  add- 
ing to  them  is,  of  course,  of  the  high- 
est importance.  If  you  once  become  con- 
scious of  the  value  of  your  stock  library, 
however,  it  will  not  be  difficult. 

Shoot  for  Future  Use 

All  of  us  encounter  dozens  of  shots 
when  out  a-filming — shots  interesting  in 
themselves,  but  not  of  value  to  what- 
ever we  may  have  in  hand  at  the  mo- 
ment. Sometimes  we  can't  resist  shoot- 
ing them,  anyway;  sometimes  older  and 
more  hardened  filmers  can  resolutely 
steel  themselves  to  pass  them  by. 

But  if  we  are  content  to  shoot  them, 
enjoy  their  merits,  and  then  let  them 
stand  in  the  stock-shot  reels,  waiting 
their  chance  to  be  useful  in  a  picture, 
sooner  or  later  they  will  come  in  handy, 
while  meanwhile  the  librarv  grows  use- 
fully. 

In  the  same  way,  it  can  be  highly  ad- 
vantageous, when  vacationing,  to  keep 
one's  eyes — and  lens — open  for  poten- 
tially useful  stock  scenes.  Getting  such 
useful  shots  on  film  need  not  take  much 
of  either  time  or  film. 

It  will  not  be  a  noticeable  drain  on 
even  a  slim  vacation  budget.  But  the 
possession  of  such  shots  can  often  save 
a  great  deal  of  time  and  money  when 
some  later  picture  is  being  assembled. 
A  Fair  Exchange 

This  stock-shot  idea,  valuable  as  it 
is  to  an  individual,  can  be  even  more 
valuable  if  carried  out  as  part  of  a  club's 
cooperative  program.  Many  clubs  have 
libraries  of  magazines;  quite  a  few  have 
libraries  of  completed  films.  A  good 
library  of  stock-shots  could  be  of  im- 
mense value  to  the  members. 

Practically  every  club  member  could 
find  among  his  own  film  discards  scenes 
which  could  be  contributed  to  such  a 
club  file.  He  could  also  contribute  fur- 
ther stock-shot  footage  from  oddments 
filmed  on  vacations  and  business  trips. 


And  if  you  will  consider  for  a  mo- 
ment the  spread  of  territory  and  inter- 
ests covered  by  the  vacations  of  the 
members  of  your  own  club,  you  can 
visualize  the  range  and  scope  of  a  club 
stock-shot  collection  if  even  a  majority 
of  the  members  get  behind  the  idea. 

One  may  spend  his  vacation  going  to 
Detroit  to  get  a  new  car;  another  may 
go  to  a  convention  in  New  York;  a 
third  may  go  fishing  in  Canada;  a  fourth 
may  tour  Europe  while  a  fifth  visits 
California,  Mexico  or  Alaska. 

If  each  of  these  members  makes  but 
one  stock-shot  on  each  roll  of  film  he 
exposes,  the  club  will  at  the  end  of  the 
season  have  an  unrivaled  variety  of 
shots  which  can  be  of  use  to  the  other 
members. 

Perhaps  the  man  who  went  to  Europe 
forgot  he  needed  shots  of  New  York;  the 
conventioneer's  spare  footage  can  pro- 
vide it.  Perhaps  the  man  who  went  to 
Detroit  needs  a  shot  of  a  train  to  intro- 
duce the  start  of  his  trip;  the  shots  of 
some  other  member  can  supply  it.  And 
so  it  goes,  growing  as  the  library  and 
the  enthusiasm  behind  it  grow. 

Safeguarding  Project 

As  a  matter  of  practical  club  policy, 
however,  it  would  seem  wise  to  throw 
some  safeguard  around  the  project,  so 
that  those  non-contributing  members 
who  as  a  rule  are  always  with  us,  can- 
not draw  upon  the  collection  to  which 
they  have  contributed  nothing.  At  first 
thought,  a  small  cash  fee  from  such 
non-contributors  would  seem  to  cover 
this  situation. 

But  this  would  reduce  the  library 
without  adding  any  footage  to  replace 
what  is  drawn.  It  would  seem  wiser, 
therefore,  to  make  the  stock  shot  library 
open  only  to  members  who  have  con- 
tributed film — and  usable  film — and  fur- 
ther to  make  participation  possible 
only  in  proportion  to  the  member's  past 
contributions. 

A  man  who  had  in  the  past  contribu- 
ted four  good  scenes  might,  therefore, 
be  allowed  to  take  three  shots  out.  If 
he  at  the  same  time  brought  in  further 
usable  shots  for  the  library,  he  could 
be  entitled  to  take  out  more  footage. 
It  seems  only  good  sense  to  insist  that 
the  individual  contribute  more  than  he 
takes,  especially  during  the  building-up 
of  such  a  scheme,  for  otherwise  the 
library  footage — and  the  benefits  there- 
from— would  shrink  instead  of  grow. 

In  any  event,  this  idea  of  building 
a  stock-shot  library,  whether  put  into 
practice  individually  or  collectively,  can 
be  one  of  the  most  practical  of  aids  to 
building  better  films.  How  practical,  only 
one  who  has  tried  it  can  tell. 


May,  1938      •      American  Cinematographer  213 


HERE^S  THE  ANSWER 


Reversal  Formulae 

Can  you  give  me  some  formulae  for 
reversing  cine  film?  My  photo-supply 
dealer  did  not  have  it,  but  referred  me 
to  you. — J.  S.  L.,  Mono  Lake,  Cal. 

In  addition  to  the  two  formulae  we 
sent  you  by  mail,  here  is  another  one. 
This  is  recommended  by  the  Gevaert  film 
experts  in  Europe,  who  supply  their  sub- 
standard films  to  European  users  either 
with  processing  as  is  the  rule  here,  or 
without  processing,  for  home  reversing. 

Fundamentally,  this  formula  should 
work  with  almost  any  type  of  black-and- 
white  cine  film,  though  the  formulae  and 
methods  might  have  to  be  slightly  modi- 
fied to  adapt  it  to  the  particular  type 
of  film  you  use,  as  each  type  of  film 
has  its  individual  requirements  in  pro- 
cessing quite  as  much  as  in  exposure. 

First  Development: 

Stock  Solution  No.  1 


Hydroquinone   90  grains 

Sodium  Sulphite,  Anhydrous.  .615  grains 
Sodium  Carbonate,  Anhydrous. 305  grains 

Potassium  Bromide   70  grains 

Hypo  (ordinary  fixing  hypo — 

not  acid)    18  grains 

Water    20  ounces 

Stock  Solution  No.  2 
Caustic  Potash  (KHO)  stick..  2  ounces 
Water   20  ounces 


The  separate  solutions  keep  indefinitely. 
For  use:  mix  9V2  parts  of  Solution  1 
with  1/2  part  of  Solution  2.  The  exposed 
film  should  be  developed  very  fully.  For 
normal  exposure,  an  average  develop- 
ment time  would  be  about  10  minutes  at 
68  degrees  F.  The  Gevaert  experts  state 
that  temperatures  up  to  80  degrees  F. 
will  not  harm  the  film. 

After  developing,  wash  for  5  minutes. 

Reversal  (removing  the  developed 
silver  image)  : 

Stock  Solution 

Potassium  Bichromate   260  grains 

Sulphuric    Acid    (66  degrees 

Be)   5 1^  drams  or   1  ounce 

Water   20  ounces 

For  use,  mix  1  part  of  the  stock  solu- 
tion with  5  parts  of  water.  This  bath 
may  be  used  until  completely  exhausted. 
The  removal  of  the  silver  image  takes 
place  in  5  to  10  minutes,  and  must  be 
continued  until  every  trace  of  the  black 
silver  deposit  is  dissolved  away. 

After  the  film  has  been  in  this  bath 
for  2  minutes,  subsequent  operations  may 
be  perfoiTned  in  white  light  of  medium 
intensity;  preferably  reflected  light. 

Although  the  quantity  of  white  light 
falling  on  the  film  during  this  second 
exposure  is  without  effect  on  the  final 
result,  the  light  must  be  uniform,  and 
excessive  light  is  to  be  avoided,  otherwise 
the  final  tone  obtained  may  be  too  warm. 
The  Gevaert  experts  recommend  a  light 


of  about  60  to  100  candlepower  at  a 
distance  of  about  3  feet. 

After  reversing,  wash  the  film  for  5 
minutes. 

Bleaching:  This  is  done  in  a  10  per- 
cent solution  of  anhydrous  sodium  sul- 
phite. The  yellow  color  imparted  by  the 
reversing  bath  should  disappear  com- 
pletely in  the  bleach,  and  leave  the  film 
the  original  color  of  the  emulsion.  After 
bleaching,  again  wash  the  film  for  5 
minutes. 

Darkening  ("Second  Development")  : 

Metol    18  grains 

Sodium  Sulphite,  anhydrous.  .  175  grains 

Hydroquinone   26  grains 

Sodium  Carbonate,  anhydrous.  175  grains 

Potassium  Bromide   18  grains 

Water    20  ounces 

This  is  not  a  stock  solution.  Treatment 
in  this  bath  is  stopped  as  soon  as  the 
desired  degree  of  darkening  is  obtained. 

Fixing:  Fix  for  5  minutes  in  ordinary 
acid  fixing  bath  (hypo). 

Wash  thoroughly  foi-  half  an  hour. 

The  most  satisfactory  equipment  for 
this  type  of  reversal  processing  would 
be  a  solid,  opaque  drum.  This  formula 
can  be  used  when  processing  the  film  on 
racks  or  frames,  but  there  are  likely  to 
be  uneven  "rack  flashes"  where  the 
second  exposure  light  strikes  the  film 
unevenly,  as  at  the  points  where  the  film 
bends  around  the  rack  or  pins. 

Supplementai'y  Lenses 

William  Stull,  A.S.C.,  recently  gave 
considerable  data  on  supplementary 
lenses.  I  would  like  to  knoiv  how  much 
the  focus  is  affected  by  the  distance  of 
the  auxiliary  lens  from  the  camera  lens, 
and  if  there  is  any  reasonable  degree  of 
tolerance  in  the  placing  of  the  auxiliary 
lens  in  front  of  the  camera  lens.  Is  the 
distance  "d"  referred  to  in  his  figures 
that  from  the  focal  plane  to  the  auxiliary 
lens,  or  is  it  the  distance  from  the  focal 
plane  to  the  camera  lens? 

L.  F.  LcD.,  Portland,  Ore. 

The  formula  quoted  was  originally 
computed  by  .J.  W.  McFarlane  of  the 
Kodak  Research  Laboratory.  Here  is 
what  he  has  said  about  the  point  you 
mention:  "The  degree  of  separation  be- 
tween these  two  (lenses)  .  .  .  does  not 
aff'ect  the  focus:  The  spacing  of  import- 
ance is  that  between  the  supplementary 
lens  and  the  object.  The  supplementary 
lens  must  not  be  so  far  out  from  the 
camera  lens  that  part  of  the  image-form- 
ing light  is  cut  off.  .  .  ." 

The  distance  "d"  in  the  formula  is 
that  from  the  focal  plane  (the  object 
being  photographed)  to  the  supple- 
mentary lens.  You  will  find  there  is 
ample  tolerance  in  placing  the  supple- 
mentaiy  lens  nearer  to  or  farther  from 
the  camera  lens,  but  the  two  lenses 
should  be  well  centex'ed  in  relation  to 


each  other,  though  a  decentering  error 
of  1/16  inch  is  not  objectionable. 

WILLIAM  STULL,  A.S.C. 

Studio  Smoke  Effects 
What  is  the  formula  for  the  heavy 
type  of  smoke  used  in  professional  mo- 
tion picture  work? 

E.  C,  S.A.C.,  Colorado  Springs 
Two  principal  types  of  smoke  are  used 
in  professional  motion  picture  work. 
The  first  is  a  liquid  which  upon  exposure 
to  air  turns  to  a  smoky  vapor.  The 
second  is  a  powder  which  burns  without 
flame,  producing  a  heavy  smoke;  both 
light  and  dark  smoke  varieties  of  this 
are  made. 

The  chemical  commonly  used  for  liquid 
smoke  is  titanium  tetrachloride.  This 
type  of  smoke  is  seldom  used  at  present, 
for  it  is  difficult  to  handle,  and  the  liquid 
can  burn  almost  like  an  acid.  The  other 
type  of  smoke  is  made  by  several  private 
firms  which  naturally  do  not  care  to 
make  their  formulae  public. 

We  can  supply  the  addresses  of  several 
such  firms  that  supply  smoke  materials 
and  smoke  pots  to  the  studios.  It  is  also 
possible  that  you  might  be  able  to  obtain 
satisfactory  smoke  materials  and  smoke 
pots  from  beekeepers'  supply  firms  in 
your  neighborhood. 

How  do  those  who  know  keep  mold 
out  of  camera  cases  and  preserve  gela- 
tin filters  in  the  tropics?  I've  been  ivork- 
ing  at  both  for  several  years  off  and  on, 
and  ivhen  I  get  real  satisfied  ivith  my- 
self and  think  everything  in  under  con- 
trol I  wake  up  one  morning  and  find 
all  filters  blistered  beyond  hope  and 
camera  cases  stuffed  full  of  what  would 
ijnpress  m,e  under  other  circumstances 
as  a  beautiful  demonstration  of  nature's 
ability  to  produce  something  out  of 
nothing.  I  tvould  be  really  grateful  for 
any  suggestions  you  can  give  to  help 
me  win  the  fight.  A.  H.  I., 

Zanzibar,  British  East  Africa. 

If  electric  current  is  available  make 
an  air-tight  locker  similar  to  an  elec- 
tric heat-bath  cabinet  to  hold  your 
equipment.  The  door  should  be  reason- 
ably air  tight,  and  inside  should  be 
enough  electric  light  globes  to  keep  the 
interior  warm  and  dry.  When  your 
equipment  is  not  in  use,  store  it  in  this 
cabinet,  and  the  warm,  di-y  air  will  ef- 
fectively discourage  molds. 

As  to  filters,  the  really  permanent 
cui-e  is  to  use  filters  made  of  solid  col- 
ored glass.  Otherwise,  keep  gelatin  fil- 
ters in  a  conveniently  portable  calcium 
chloride  dehydrator,  just  as  you  would 
dehydrate  film  between  exposure  and 
packing.  When  using  the  filters  keep 
them  in  individual  metal  tins,  return- 
ing them  as  soon  as  possible  to  the  de- 
hydrator. 

CLYDE  DE  VINNA,  A.S.C. 


214     American  Cinematographer     •     May,  1938 


Here's  Kilmer's  Chance  to  Take 
Advantage  of  Early  Summer  Rain 


WHAT  with  today's  speedy  film 
and  lenses,  movie  making  is 
no  longer  exclusively  a  fair- 
weather  sport.  Here  is  a  continuity  de- 
signed to  take  advantage  of  some  of 
early  summer's  showery  scenes.  Like 
all  of  the  scenarios  published  here,  it 
can  be  filmed  as  written  or  altered  to 
take  advantage  of  individual  circum- 
stances. 

An  asset  from  the  production  view- 
point is  the  fact  that  many  of  the  scenes 
may  be  filmed  at  any  convenient  time, 
while  others  may  be  gathered  from  the 
surplus  scenic  footage  every  one  accu- 
mulates. So  gather  up  your  camera  and 
umbrella  and  let's  make  pictures! 
"WEATHER:  UNSETTLED" 

Scene  1.  FADE  IN:  Interior  of  a 
moviemaker's  workroom.  Two  filmers 
are  seen  editing  film  with  viewer  and 
rewinds. 

Scene  2.  Two-shot  of  the  filmers.  One 
looks  up  from  viewer  and  speaks. 

TITLE:  "Gotta  have  some  shots  that 
suggest  spring.    Let's  make  'em  now." 

Scene  3.  Same  as  Scene  2.  The  first 
man  finishes  his  speech.  The  other  pro- 
tests. He  picks  up  a  newspaper  and 
points  to  something  in  it. 

INSERT:  Close  shot  of  weather  fore- 
cast which  reads:  "Weather  today,  un- 
settled.   Probable  showers." 

Scene  4.  Medium  longshot  of  the 
two.  The  first  indicates  disbelief;  the 
second  argues — finally  he  gives  in  and 
both  exit.    FADE  OUT. 

Scene  5.  FADE  IN:  Longshot  of 
fiont  door  of  house.  The  two,  each  with 
his  camera  equipment,  come  out,  walk- 
ing toward  camera. 

Scene  6.  Reverse  angle  of  Scene  5. 
The  two  walk  away  from  camera.  FADE 
OUT. 

Scene  7.  FADE  IN:  Longshot  of  a 
pretty  spring  scene.  If  possible  have 
a  few  small  clouds  against  a  lightly 
filtered  sky.  The  two  filmers  enter.  One 
starts  to  set  up  camera  for  a  shot.  The 
other  indicates  he  doesn't  think  it  such 
a  good  scene,  and  urges  him  to  go 
farther. 

Scene  8.  Close  shot  of  a  patch  of 
spring  wildflowers. 

Scene  9.  Close  shot  of  budding  leaves 
on  a  tree. 

Scene  10.  Medium  longshot  of  the 
two.  The  one  who  wanted  to  shoot 
finally  shoulders  his  camera  and  both 
move  off.  (Make  this  .shot  as  highly  pic- 
torial as  possible.) 

Scene  11.  Longshot  of  a  farmer  plow- 
ing a  field. 

Scene  12.  (^lose-up  of  the  plowshare 
starting  a  fresh  furrow. 

Scene  13.    Similar  to  Scene  12,  but 


made  from  behind  the  plow,  panning 
upward  as  the  plow  moves  off. 

Scene  14.  Very  pictorial  longshot  of 
the  field,  like  Scene  11. 

Scene  15.  Longshot  in  a  field.  The 
two  filmers  enter.  Again  one  of  them 
starts  to  set  up,  pointing  toward  the 
camera  and  indicating  he  sees  a  fine 
shot.  Again  the  second  disagrees.  Both 
exit. 

Scene  16.  Close-up  of  a  running 
trickle  of  water  from  small  brook. 

Scene  17.  Pictorial  longshot  of  a 
brook. 

Scene  18.  Longshot  of  the  filmers. 
One  points,  obviously  asking  if  the 
scene  is  worth  filming.  The  other  shakes 
his  head,  and  they  exit. 

Scene  20.  Close-up.  Head  and  shoulders 
of  one  filmer  enters.  He  stops,  obviously 
sees  something. 

Scene  21.    Close  shot  of  a  robin. 

Scene  22.  Close  twoshot  of  both  film- 
ers. They  agree  and  start  to  unlimber 
their  cameras,  switching  impressive 
looking  telephoto  lenses  into  place. 

Scene  23.  Same  as  Scene  21.  The 
robin  hops  about  a  moment,  then  flies  off. 

Scene  24.  Same  as  Scene  22.  Both 
filmers  still  getting  their  cameras  ad- 
justed. They  see  the  bird  has  flown 
and  stop,  disgustedly. 

Scene  24.  Close  shot  of  two  pairs  of 
feet  walking  along  rather  slowly. 

Scene  26.  Longshot  of  the  two.  They 
stop  and  point  to  something. 

Scene  27.  Longshot  of  landscape.  The 
scene  itself  may  be  rather  ordinary,  but 
it  has  big,  puffy  clouds. 

Scene  28.  Similar  to  Scene  26,  but 
closer  angle.  Both  filmers  set  up  their 
cameras.  Then,  in  closer  scenes,  ad  lib, 
they  argue  over  filters,  exposure-meters, 
etc.  Make  this  long,  to  indicate  a  drawn- 
out  argument. 

Scene  29.  Same  as  Scene  27,  but 
filmed  with  the  camera  running  at  its 
slowest  speed — or  better,  in  stop  mo- 
tion. The  clouds  change  rapidly,  if  pos- 
sible billowing  up  until  they  cover 
the  sky. 

Scene  30.  Close  shot  of  the  filmers 
in  the  midst  of  their  argument.  One 
looks  out  of  picture,  apparently  at  the 
scene  they  intend  filming,  and  calls  the 
other's  attention  to  the  change. 

Scene  31.  Similar  to  Scene  29,  but 
filmed  at  normal  speed  and  slightly 
underexposed. 

Scene  32.  Same  as  Scene  30.  Both 
shrug  their  shoulders  and  start  to  put 
their  cameras  away. 

Scene  33.  Close  shot  of  water  in  a 
pool.    Some  raindrops  fall. 

Scene  34.  Longshot,  similar  to  Scene 
32.    One  filmer  notices  the  rain.  Both 


cram  their  cameras  into  cases  and  hurry 
off,  in  opposite  direction  to  their  en- 
trance in  Scene  26. 

Scene  35.  Longshot.  The  two  filmers 
run  through,  hats  jammed  down  and  col- 
lars turned  up,  running  to  shelter. 

Scene  36.  Close-up  of  their  running 
feet.  If  possible  have  them  splash 
through  a  small  puddle. 

Scene  37.  Close  shot  (downward  angle) 
of  wet  city  pavement.  A  car's  wheels 
drive  across,  leaving  a  well  defined 
track. 

Scene  38.  Longshot  of  a  city  street 
with  fairly  heavy  traffic,  on  a  rainy  day. 

Scene  39.  Short  flashes  from  odd 
angles  of  windshield  wipers  on  several 
different  cars.    Working,  of  course! 

Scene  40.  Longshot  on  a  street  with 
street  car  tracks;  it  is  still  raining.  The 
filmers  enter,  look  down  the  street  for 
a  street  car;  not  one  is  in  sight.  They 
push  on. 

Scene  41.  Medium  longshot  of  the 
two,  standing  on  a  corner.  A  taxicab 
goes  by.  They  look  at  each  other,  obvi- 
ously agreed  a  cab  is  what  they  need. 

Scene  42.  Succession  of  shots  of  tax- 
icabs  in  the  rain,  all  occupied. 

Scene  43.  Close-up  of  two  pairs  of 
feet,  slogging  along  rainy  sidewalk. 

Scene  44.  Longshot  (or  several)  made 
at  dusk  on  a  rainy  day,  showing  auto 
headlights  on,  and  reflections  from 
lights  in  pavement. 

Scene  45.  Close-up  of  the  two  pairs 
of  feet  (wet!)  turning  in  from  sidewalk 
or  entering  porch. 

Scene  46.  Closeshot  of  porch  door 
slamming.  There  should  be  some  light 
from  inside  house  before  door  closes, 
and  if  possible,  rain  beating  on  porch. 

Scene  47.  Close  shot  of  two  tripods 
leaning  against  the  wall,  dripping. 

Scene  48.  Similar  to  Scene  1.  The 
filmers  are  at  work  again;  this  time  they 
have  a  titler  and  are  setting  up  lights. 

Scene  49.  Close  shot  of  two  filmers 
and  the  titler.  One  is  slipping  a  still 
photo  or  a  picture  postcard  into  the 
titler.    The  other  is  adjusting  a  lamp. 

Scene  50.  Longshot.  The  lights  by 
the  titler  are  turned  on,  and  one  filmer 
leans  over  the  camera  in  the  titler. 

Scene  51.  Close-up  of  camera.  Finger 
presses  its  shutter  release. 

Scene  52.  Close-ups  of  each  of  the 
two  filmers,  smiling  contentedly. 

Scene  53.  Same  as  Scene  50.  FADE 
OUT. 

THE  END 
Atmosphere  Any  Time 
You  will  notice  that  with  the  excep- 
tion of  Scene  7,  the  filmers  are  never 
shown  in  the  "scene"  they  are  supposed 
to   be  admiring.     Therefore   these  at- 
(Continued  on  Page  219) 


May,  1938     •     American  Cinematographer  215 


Big  Four- Day  Gathering  Set  for 
Conference  on  Visual  Education 


The  National  Conference  on  Visual 
Education  and  Film  Exhibition  commit- 
tee has  announced  acceptance  of  many 
prominent  educators  who  will  participate 
in  the  sessions  this  year  to  be  held  at 
the  Francis  Parker  School  in  ChicaRo 
from  June  20  to  23  inclusive. 

This  year's  conference  will  attract  a 
large  number  of  visual  educationists  in- 
tei-ested  in  authoritative  and  up-to-the- 
minute  information  on  educational  film.s 
and  their  utilization.  Speakers  from  many 
important  government  departments,  edu- 
cational film  bureaus,  schools  and  other 
authorities  on  visual  education  will  be 
present. 

Among  those  who  have  consented  to 
take  part  in  this  year's  program  are  R. 
E.  Hughes  of  the  Evanston  Township 
High  School,  who  has  done  some  fine 
work  making  campus  movies,  laboratory 
scenes,  etc.  William  E.  Morse,  Jr.,  of 
Idaho,  who  has  done  much  in  organizing 
one  of  the  most  effective  county  film 
services  in  the  country,  will  talk  on  or- 
ganization and  the  working  details  of 
cooperative  county  film  service. 

H.  E.  Ryder,  county  superintendent  of 
schools,  of  Fremont,  Ohio,  whose  name 
has  long  been  prominent  in  connection 
with  the  unusual  film  library  of  the  Ohio 
County  Schools,  will  give  his  views  on 
piactical  aspects  of  school  distribution 
and  cooperative  methods. 

Miss  Amelia  Meissner,  Curator  of  the 
St.  Louis  Museum,  will  give  an  interest- 
ing and  informative  talk  on  the  use  of 
special  films  in  history  and  other  sub- 
jects. L.  W.  Cochrane  of  the  University 
of  Iowa  will  speak  on  specialized  use  of 
films  for  college  class  work   and  will 


exhibit  an  excellent  color  production 
which  he  has  made. 

Dr.  James  E.  Bliss,  who  has  contributed 
valuable  information  in  the  field  of  actual 
educational  productions  and  organized 
the  cinema  library  for  the  Western  Re- 
serve University  of  Cleveland,  will  talk 
on  technical  film  problems  as  applied  to 
educational  film  production. 

Along  similar  lines  will  be  the  address 
of  A.  P.  Heflin  of  Lane  Tech,  who  has 
organized  the  Movie  Camera  Club.  Mr. 
Heflin  will  exhibit  a  film  which  he  de- 
scribes as  a  new  kind  of  album.  This 
film  presents  short,  student  interviews 
of  graduates  and  has  attracted  much 
attention  in  educational  circles.  He  will 
also  show  a  film  on  school  foundry  work. 

William  L.  Zeller,  prominent  Peoria 
lecturer,  will  show  before  conference 
groups,  bird  films  in  color  and  will  talk 
on  their  utilization  in  lower  grades.  The 
Lane  Tech  High  School  will  send  Miss 
Eleanor  Mossman,  who  has  demonstrated 
the  use  of  motion  pictures  for  training 
in  English  classrooms.  She  also  will  show 
pictures  to  bring  out  salient  points. 

Other  prominent  visual  educationists 
from  important  government  offices  will 
participate.  George  T.  Van  der  Hoff  of 
the  FTIA  administration  will  exhibit  a 
housing  film  and  talk  on  the  govern- 
ment's part  in  modern  film  education. 

J.  A.  Mercey,  assistant  director  of  in- 
formation of  the  National  Farm  Security 
Board,  will  speak  on  the  subject  of  docu- 
mentary films  and  their  impoitance  in 
educational  work.  He  will  screen  "The 
River"  and  touch  upon  the  unusual  pro- 
duction aspects  of  this  film.  From  the 
United  States  Office  of  Education,  con- 


ference guests  will  hear  the  story  of  in- 
tensely interesting  film  distribution 
methods  and  educational  adaptation.  Miss 
Effie  Bathhurst  will  contribute  these 
data. 

Since  some  very  interesting  work  has 
been  done  by  the  Chicago  Parks  Disti'ict, 
the  conference  committee  felt  that  this 
work  has  a  real  significance  in  the  field 
of  modern  visual  education  and  it  has  ex- 
tended an  invitation  to  Miss  Katherine 
Troy  of  the  Chicago  Parks  District,  who 
will  talk  on  recreational  films  and  pre- 
sent an  unusual  marionette  film. 

The  National  Council  of  Teachers  of 
English  will  send  the  chairman  of  its 
committee  on  standards,  Miss  Helen  Rand 
Miller,  author  of  "Film  and  School."  Her 
discussion  will  be  titled  "Reading  Books 
and  Seeing  Motion  Pictures." 

Other  well-known  and  equally  capable 
authorities  who  will  be  heard  by  the  con- 
ference audiences  in  both  general  and 
film  clinic  sessions,  will  be  O.  H.  Coelln, 
business  films'  authority;  Captain  Patrick 
M.  Smith,  world-wide  traveler,  cinema- 
tographer and  lecturer;  Stuart  Grant  of 
Pure  Oil  Company — in  charge  of  one  of 
the  largest  industrial  film  departments 
in  the  country;  Homer  Buckley,  advertis- 
ing executive;  Fred  J.  Senc  of  Germany 
and  Jack  Gallagher,  a  Hollywood  pro- 
ducer who  will  tell  what  Hollywood  is 
doing  for  educators  in  the  way  of  cre- 
ating new  pictures  with  real  educational 
value. 

L  E.  Deer  of  the  M.P.P.D.A.,  represent- 
ing the  producers,  will  discuss  the  in- 
tensive work  of  that  organization  in 
creating  new  and  better  educational  films 
and  making  these  available  for  child 
psychology  studies. 


-^ys  »r  PT»r  £:  ^^^H 


Clinton   Veher  of  Rutr/ers   University  making  upccidl   resedrcli   films  of  a   r/iowing  tomato  plant   bij  use  of  stop-motion 

photogrnplnj  with  a  DeVrif  Model  A  35mm.  camera. 


216     American  Cinematographer 


May,  1938 


Rate  'Wings  Over  Honolulu' 
One  of  Three  Best  in  1937 

(Contimied  from  Page  187) 

vised  the  photography  on  the  three  pic- 
tures which  have  carried  the  name  of 
Deanna  Durbin  around  the  world — 
"Three  Smart  Girls,'"  under  the  direction 
of  Henry  Koster,  and  "100  Men  and  a 
Girl,"  with  Leopold  Stokowski,  and 
under  the  same  director. 

Then  he  has  recently  finished  "Mad 
About  Music,"  directed  by  Norman  Tau- 
rog,  since  going  plenty  strong,  and 
which  in  its  photographic  treatment  has 
contributed  still  further  to  the  reputa- 
tion of  Joe  Valentine  as  an  artist  with 
the  camera. 

Other  Things  Done 

Among  other  of  the  more  prominent 
subjects  he  has  photographed  at  Uni- 
versal are  "Top  of  the  Town,"  a  pro- 
duction notable  for  its  large  sets  and 
lighting  problems.  Still  another  was 
"Merry  Go  Bound  of  1938." 

"Wings  Over  Honolulu,"  the  photo- 
graphic work  which  attracted  the  at- 
tention of  the  technicians,  was  directed 
by  H.  C.  Potter  and  was  put  in  the  box 
in  forty  days.  The  picture  was  made 
in  San  Diego  and  was  delayed  by  inclem- 
ent weather.  Aside  from  the  excellent 
off-the-ground  shots  by  Charles  Mar- 
shall, A.S.C.,  it  was  a  one-man  job, 
meaning    that    barring    the  exception 


indicated  the  actual  photographing  of  the 
picture  was  under  the  immediate  eyes 
of  Valentine.  At  times  there  were  as 
many  as  150  planes  in  the  air  in  a  single 
scene. 

It  is  worth  noting  that  as  the  nega- 
tive passed  through  the  laboratory  it 
drew  the  attention  of  the  hard-boiled 
personnel  for  its  photographic  quality. 
The  comment  became  so  insistent  in  its 
trend  that  Roy  Hunter,  former  superin- 
tendent of  the  Consolidated  Laboratory, 
wrote  a  letter  to  Charles  Rogers,  head 
of  Universal  Studio,  declaring  if  "Wings 
Over  Honolulu"  were  not  named  as  a 
candidate  for  1937  photographic  honors 
by  the  Academy  spokesmen  then  he 
and  his  associates  were  indeed  shy  on 
their  judgment  of  photography. 
Eye  Fills  Screen 

When  the  technicians  of  the  Acad- 
emy narrowed  their  choice  down  to  three 
it  would  appear  they  put  their  collective 
seal  on  the  photographic  judgment  of 
Roy  Hunter  and  his  former  associates. 

Valentine  always  is  alert  to  bring  out 
by  means  of  his   camera   some  photo- 


Excellent  Job 

In  my  mind  you  are  doing  an 
excellent  job  in  The  American 
Cinematographer.    Keep  it  up. 

R.  M.  CARLTON. 

South  Hobart  St.,  Los  Angeles. 


graphic  angle  which  will  accentuate  the 
drama  of  the  story  in  which  he  is  work- 
ing. As  this  is  written,  in  April  of 
the  present  year,  he  is  beside  the  camera 
recording  "The  Rage  of  Paris,"  the  sub- 
ject which  marks  the  debut  for  the 
American  screen  of  Danielle  Darrieux, 
in  which  the  Frenchwoman  is  supported 
by  Douglas  Fairbanks,  Jr.,  and  Henry 
Koster  directs. 

The  actress  rates  as  the  possessor  of 
an  unusual  pair  of  eyes.  They  are  of 
genuine  beauty  and  expressiveness,  and, 
better  still,  have  excellent  photographic 
quality.  After  many  experiments  the 
cameraman  developed  a  method  of  close- 
up  by  which  the  eyes  of  the  actress  will 
fill  almost  the  whole  screen. 

"By  use  of  these  dramatic  close-ups," 
the  cameraman  explained,  "her  thoughts 
and  emotions  can  be  more  forcefully 
conveyed  to  the  audience.  In  ordinary 
life  and  conversation  we  watch  a  per- 
son's eyes  while  he  is  talking.  The  eyes 
reveal  a  person's  mood,  feelings  and 
much  of  their  thoughts.  Why  not  the 
same  thing  from  the  screen?'" 


The  Argentine  film  industry  continues 
to  expand,  with  most  of  the  local  studios 
in  full  activity.  A  current  survey  re- 
veals that  eight  feature  films  have  just 
been  completed  by  the  Argentine  pro- 
ducers, with  seven  more  in  the  process 
of  filming,  and  nine  more  in  preparation 
for  filming  within  the  immediate  future. 


AMERICAN  CINEMATOGRAPHER  1938 
International  Amateur  Competition 

16inm  Subjects 

$500  in  Casili  Prizes 

GRAND  PRIZE     S200 

Photography    50      Home  Movie      .50 

Color   50      Scenic      50 

Scenario      50     Documentary      50 


No  Entrance  Fee.     Original  Films  Only — No  Dupes 


No  Reduction  from  35mm 


THE  RULES 


The  contest  is  world  wide  and  open  only  to  genuine  8mm  or  16mm 
amateurs  or  amateur  clubs. 

The  contest  ends  at  midnight  October  31,  1938.  Entries,  mailed 
or  expressed,  later  than  that  time  will  not  be  eligible. 

Pictures   submitted  will   be  judged   for  photography,  entertainment 


AMERICAN  CINEMATOGRAPHER 
1782  No.  Orange  Drive 
Hollywood,  California 

Please  send  me  one  of  your  official  entry  blanks.  I  intend  to 
enter  a  (16mm  8mm)  picture  in  your  1938  contest.  I  understand 
my  entry  must  be  in  your  office  not  later  than  October  31,  1938. 


Name-.. 


Street  

Address 


and/or  story  value,  direction,  acting,  cutting  and  composition. 

The  decision  of  the  judges,  among  whom  there  will  be  prominent 
cameramen,  will  be  final.  Announcement  of  the  awards  will  be  made 
as  soon  after  the  close  of  the  contest  as  possible  and  checks  sent  to 
the  winners. 

Pictures  may  be  submitted  either  by  individual  amateur  movie  makers 
or  they  may  be  submitted  by  amateur  movie  clubs.  Each  entrant  must 
have  his  entry  or  entries  accompanied  by  a  sworn  statement,  the  blank 
for  which  will  be  forwarded  to  him  to  fill  in. 

Contestants  may  enter  as  many  subjects  as  they  desire.  One  entry- 
blank  will  cover  all  subjects. 

The  American  Cinematographer  reserves  the  right  not  to  declare  a 
prize  for  any  classification  if  in  the  opinion  of  the  judges  there  is 
not  a  picture  submitted  sufficiently  good  to  be  classed  as  a  prize- 
winner. 

The  American  Cinematographer  retains  the  right  to  make  duplicates 
of  such  prize-winning  pictures  as  it  may  indicate,  for  free  distribution 
to  clubs  and  amateur  organizations  throughout  the  world. 

If  you  intend  to  enter  the  contest,  please  send  coupon  on  this  page 
for  official  entry  blank. 

NOTICE  TO  FOREIGN  ENTRIES 

Films  from  foreign  countries  will  be  admitted  to  the  United  States 
duty  free  if  the  pictures  are  made  on  American  made  stock.  If  this 
is  the  case,  this  fact  must  be  included  in  the  shipment,  also  the 
information  must  be  given  that  it  is  for  non-commercial  use.  If  the 
film  is  not  made  on  American  made  stock  duty  will  have  to  be  pre- 
paid by  the  sender  at  the  rate  of  $1  per  hundred  feet. 


May,  1938 


American  Cinematographer  217 


National  Archives  Will  Preserve 
Motion  Pictures  for  Generations 


By  JOHN  G.  BRADLEY 

Chief,  Division  of  Motion  Pictures  and  Sound 
Recordings,  The  National  Archives 


HP! 


J  HE   National   Archives  Btiilding, 
I    situated  at  the  end  of  Eighth  street 
and  Pennsylvania  avenue,  Wash- 
ington, D.  C,  is  not  the  result  of  a  sud- 
den notion,  nor  is  it  the  product  of  any 
emergency  legislation. 

On  the  contrary,  it  is  the  consumma- 
tion of  an  intermittent  effort  lasting  well 
over  one  hundred  and  fifty  years;  a 
struggle  extending  back  to  the  very  be- 
ginning of  our  government.  More  than 
fifty  bills  have  been  introduced  in  Con- 
gress at  one  time  or  another  as  a  part 
of  this  movement,  but  it  was  not  until 
1926  that  these  efforts  took  material 
form. 

Historical  Motion  Pictures 

In  that  year,  May  25  to  be  exact. 
President  Coolidge  approved:  Ay\  Act  to 
provide  for  tlie  construction  of  certain 
public  buildings  and.  for  other  purposes. 

Ground  for  the  present  structure  was 
broken  in  September,  1931,  and  the  legis- 
lation creating  The  National  Archives 
administration  (the  Bloom-McKellar  bill) 
was  signed  by  President  Roosevelt  June 
19,  1934 — 160  years  after  the  first  meet- 
ing of  the  First  Continental  Congress,  at 
which  the  preservation  of  Government 
records  was  discussed. 


The  National  Archives  Building,  Wash- 
ington, D.   C.  where  a  motion  picture 
film  librai-y  is  being  established. 


John  G.  Bradley,  Chief,  Division  of 
Motion  Pictures  and  Sound  Recordings, 
The  National  Arcliives,  ivhich  has  been 
sponsoring  the  preservation  researcli 
ivork  and  the  collection  of  historical 
motion  pictures  referred  to  in  the  ac- 
companying article. 


Of  particular  interest  to  the  readers 
of  The  American  Cinematographer  is 
the  provision  in  this  legislation  for  col- 
lecting, preserving  and  exhibiting  his- 
torical motion  pictures. 

Congress  wisely  recognized  the  grow- 
ing importance  of  this  relatively  new- 
medium  of  expression  as  a  basic  eco- 
nomic and  sociological  force,  and  in  this 
act  motion  pictures  have  been  given  full 
citizenship  as  a  documentary  form. 

That  a  good  motion  picture  should  )e 
preserved  just  as  a  good  book  is  pre- 
served has  become  increasingly  apparent 
to  everyone;  and  now  The  National 
Archives  has  undertaken  to  preserve 
motion  pictures  relating  to  American 
history  as  a  service  to  present  and  future 
generations. 

Motion  picture  collections  may  be  ac- 
cepted from  two  sources:  (1)  Transfers 
from  other  Government  agencies,  and  (2) 
gifts  from  private  donors.  Government 
transfers  may  include  any  motion  pic- 
ture or  sound  recoiding  which  another 
Government  agency  offers  The  National 
Archives  for  permanent  custody,  and 
which  the  Archivist  of  the  United  States 
approved  for  such  transfer. 

Such  material  is,  for  the  most  part, 
of  the  documentary  type,  produced  in 


connection  with  some  function  of  the 
originating  agency. 

War  pictures,  flood  and  soil  erosion 
pictures,  training  and  extension  service 
pictures,  sound  recordings  covering  im- 
portant hearings,  and  other  related  ma- 
terial covering  Governmental  activities 
are  examples  of  the  type  of  record  that 
is  eligible  for  transfer. 

Gift  Material 

Gift  motion  pictures  n\ay  come  from 
any  non-Federal  source  so  long  as  the 
subject  matter  pertains  to  or  illustrates 
some  historical  activity  of  the  United 
States.  This  gives  a  rather  wide  scope 
to  the  material  that  may  be  considered. 

However,  since  present  storage  space 
in  the  National  Archives  Building  is 
limited,  the  Archivist  has  deemed  it 
necessary  to  adopt  certain  standards 
covering  the  classes  of  gift  motion  pic- 
tures that  may  be  accepted. 

A  committee  of  members  of  The  Na- 
tional Archives  makes  studies  on  motion 
picture  films  that  are  offered  and  submits 
to  the  Archivist  recommendations  there- 
on. All  gifts  that  are  accepted  are 
credited  to  the  donor  in  the  permanent 
files  of  The  National  Archives. 

The  following  statement  of  classes  of 
motion  picture  films  that  seem  to  be 
suitable  for  the  collection  will  serve  as  a 
guide  to  those  who  may  be  interested  in 
this  cooperative  movement: 

1.  Factual  per  se:  Those  depicting 
things,  facts,  scenes,  events,  or  activities 
which  have  or  are  likely  to  have  Ameri- 
can historical  significance,  taken  as  near- 
ly as  possible  in  their  original  relation 
to  time  and  place.    Newsreels  as  well 


218     American  Cinematographek 


May,  1938 


as  pictures  taken  specifically  as  a  mat- 
ter of  record  are  included  in  this  class; 
the  material  photographed  is  the  deter- 
mining- factor  and  the  comment  or  aug- 
ntentation  is  supplementary. 

2.  Factual-Expository:  Those  de- 
picting things,  facts,  scenes,  events,  or 
activities  which  have  or  are  likely  to 
have  American  historical  significance, 
taken  principally  for  purposes  of  expo- 
sition and  following  a  predetermined 
plan  of  composition.  Among  these  aie 
travelogs,  educational  subjects,  and  other 
pictures  which,  though  essentially  fact- 
ual, are  edited,  rearranged,  and  aug- 
mented for  purposes  of  composition.  The 
determining  factor  in  this  class  is  the 
scenario  or  exposition,  and  the  photog- 
raphy is  supplementary. 

3.  Re-creations:  Those  taken  of  dra- 
matized representations  of  scenes,  events, 
or  persons  of  American  historical  sig- 
nificance in  which  the  originals  are  ac- 
curately and  faithfully  portrayed  in 
spirit  as  well  as  in  letter.  Pictures 
utilizing  historical  events  or  characters 
in  a  fictitious  plot  or  sequence  would  not 
ordinarily  fall  within  this  class. 

4.  Art-Craft:  Those  which  mark  im- 
portant steps  in  the  development  of  the 
motion-picture  art  or  industry.  Such 
factors  as  story  quality,  dramatic  per- 
formance, photographic  art,  and  engi- 
neering science  may  be  considered  in 
appraising  pictures  falling  in  this  class. 

5.  Historic:  Those  which,  without 
regard  to  other  qualifications,  have 
played  important  roles  in  influencing 
American  thought  or  action  and  thus 
have  themselves  become  historic  in  the 
same  sense  that  the  novel  "Uncle  Tom's 
Cabin"  has  become  historic. 

('ollection  Growing 

Although  the  necessary  storage  equip- 
ment has  been  installed  only  a  short 
time  and  the  procedure  for  accessioning 
this  material  was  adopted  only  recently. 


the  collection  is  growing  rapidly  both  in 
volume  and  importance.  Motion  pictures 
of  basic  activities  in  the  Philippine  Is- 
lands taken  in  1913-1915;  those  depicting 
the  digging  of  the  Panama  Canal,  taken 
in  1911;  pictures  of  various  Presidents 
and  other  important  personalities  dating 
back   to   Theodore   Roosevelt,   etc.,  are 


for  WIDE-ANGLE  and 
TELE-PHOTOGRAPHY 

IFe  are  pleased  to  announce  that  our 


GOER 


KINO-HYPAR    F2.7    15  mm 
WIDE-ANGLE  LENS 
and  the 

KINO-HYPAR   F2.7  75  mm  (3") 
for  LONG-DISTANCE  SHOTS 
and  CLOSE-UPS 
can  now  be  had  as  Standard  Equip- 
ment   with    the    B  O  L  E  X  16mm 
MOVIE    CAMERA.    Other  focal 
lengths  can  also  be  supplied. 
The  distributors  of  the  precision- 
built    BOLEX    camera    made  this 
choice  after  a  thorough  test  of  the 
American-made    GOERZ  LENSES 
to   assure   their   customers   of  the 
best  possible  picture  results. 

Specify  GOERZ  LENS  EQUIP- 
MENT when  purchashing  the 
BOLEX  CAMERA  from  the 
American  Bolex  Company  or 
authorized  Bolex  dealers. 

I-  nr  further  informal  inn  address  Drpl.  AC"» 


C.P.GOERZ  AMERICAN  OPTICAL  CO. 


317  E.  34  St. 


New  York 


Stainless  steel  motion  picture  storuf/e 
rnlnnets  installed  in  the  National  Ar- 
chives Biiildinfj.  Note  that  each  reel  is 
stored  in  a  separate  compartment,  adr- 
([nately  insulated  from  its  neighbor  and 
separately  vented  to  the  exterior. 


among  the  most  important  accessions 
that  have  been  made  to  date. 

Over  one  million  feet  of  motion  pic 
tures  have  been  received  in  the  National 
Archives  Building,  much  of  which  will 
probably  be  accessioned,  and  a  great 
quantity  of  additional  film  is  being  fa- 
vorably considered. 

Preservation 

Faced  with  the  problem  of  long-time 
storage,  the  Division  of  Motion  Pictures 
and  Sound  Recordings,  The  National 
At  chives,  undertook  an  original  research 
nearly  three  years  ago.  In  this  work 
the  division  enjoyed  the  help  and  coun- 
sel of  the  Motion  Picture  Industry,  the 
manufacturers  of  motion  picture  film, 
the  National  Research  Council,  the  Na- 
tional Bureau  of  Standards,  as  well  as 
that  of  private  engineers  and  chemists 
everywhere.  Grateful  acknowledgment 
is  made  for  all  such  contributions  in  the 
solution  of  the  problem. 

There  have  been  many  articles  pub- 
lished on  different  phases  of  this  re- 
search both  of  a  general  and  technical 
character,  the  technical  papers  for  tho 
most  part  appearing  in  the  Journal  of 
the  Society  of  Motion  Picture  Engineers. 

In  brief,  however,  the  life  expectancy 
of  motion  pictures  has  been  definitely 
extended.  It  is  believed  that  nitro-cellu- 
lose  film,  kept  under  the  conditions  pre- 
scribed by  The  National  Archives,  may 
be  preserved  in  good  physical  condition 
for  fifty  or  a  hundred  years  and  that  the 
acetate-cellulose  film  may  be  preserved 
for  a  much  longer  period. 

In  both  cases  duplicate  copies  can  be 
made  as  soon  as  the  originals  are  threat- 
ened with  deterioration  so  that  the  record 
may  be  perpetuated  indefinitely. 

The  essence  of  the  preservation  plans 
worked  out  by  The  National  Archives 
consists  of  controlled  temperatures,  con- 
trolled humidities,  controlled  air  content, 
careful  washing  of  the  film  to  remove 
residual  hypo,  frequent  inspection,  re- 
humidification,  careful  handling  under 
dust-free  conditions,  and  the  strict  ob- 
servance of  good-housekeeping  practice. 

In  the  matter  of  fire  control  the  prin- 
ciple of  unit  isolation  is  religiously  ob- 
served, one  reel  being  the  unit  for  the 
more  valuable  nitrate  negatives.  These 
films  are  deposited  in  stainless  steel 
cabinets  which  are  subdivided  into  one- 
reel  compartments. 

Each  compartment  is  vented  to  the 
exterior,  and  tests  at  the  Bureau  of 
Standards  indicate  that  a  rise  in  tem- 
perature of  as  little  as  8  degrees  (F) 
was  noted  in  compartments  adjacent  to 
a  compartment  in  which  a  film  had  been 
deliberately  ignited  and  where  the  tem- 
perature reached  over  1000  degrees  (F^. 

It  is  believed,  therefore,  that  a  ma- 


May,  1938      •      American  Cinematographer  21'J 


jor  film  fire  could  never  take  place  un- 
der these  restrictions. 

A  projecting  room  or  auditorium,  with 
a  seating  capacity  of  a  little  over  two 
hundred,  is  maintained  for  the  purpose 
of  showing  these  pictures  and  reproduc- 
ing sound  recordings  for  historical  pur- 
poses and  study. 

Both  35  mm.  and  16  mm.  projection 
equipment  is  maintained  as  well  as  facil- 
ities for  reproducing  all  types  of  sound 


recordings.  Service  is  rendered  by  com- 
petent engineers  of  professional  stand- 
ing. Already  this  movement  has  at- 
tracted wide  attention  and  nearly  every 
day  brings  distinguished  visitors  from 
all  over  the  world — public  officials,  his- 
torians, engineers,  study  groups  and 
others. 

Both  the  size  and  quality  of  this  col- 
lection hold  out  great  promise,  and  its 
service  applications  are  manifold. 


developed  under  normal  press  condition.^. 
Where  more  rapid  processing  is  desir- 
able, D-19  developer  is  recommended. 
The  fixation  rate  is  identical  with  that  of 
Panchro-Press. 

Super  Panchro-Press  is  made  less 
sensitive  to  red  than  other  ultra-speed 
press  films,  and  gives  well-balanced  color 
rendering,  it  is  declared.  This  character- 
istic, coupled  with  its  good  scale  and 
graduation,  fits  it  for  press  work  of  su- 
perior quality. 


New  Super  Panchro-Press  Film  Is 
Announced  by  Eastman  Kodak  Co. 


ANEW  Super  Panchro-Press  film, 
more  rapid  than  Panchro-Press 
but  retaining  all  the  physical  char- 
acteristics of  this  popular  emulsion,  is 
announced  from  Rochester  by  the  East- 
man Kodak  Company. 

Extremely  fine  grain,  freedom  from 
abrasion,  excellent  gradation,  and  a  rea.-?- 
onable  development  time  which  permits 
control  under  favorable  temperature 
conditions,  are  claimed  for  the  new 
Super  film. 

Super  Panchro-Press  will  produce  a 
softer  negative  with  normal  development 
than  other  ultra-speed  press  films,  de- 
clares the  company.  This  is  a  distinct 
advantage  in  flash  work,  when  contrasty 
lighting  is  the  lule. 

However,  when  added  contrast  is  de- 
sirable, as  in  negatives  taken  on  dull 
days,  in  late  afternoon,  or  under  ox- 
tremely  flat  lighting,  added  development 
of  30  to  40  per  cent  will  give  negatives 
with  ample  snap  and  brilliance.  This  de- 
velopment latitude  enables  the  new  film 


HUGO 
MEYER 

1^          ^^PEIOS  V'S  TO  f/55 

1  LENSES 

M    HUGO  MEYER  &  CO. 

^        a45  W.  55   ST.,  NCW  YORK 

8  16 


Reduced 
TO 


8 


Geo.  W.  Colburn  Laboratory 

Special   Motion   Picture  Printin:4" 
1197  MERCHANDISE  MART 
CHICAGO 


NATURAL  COLOR 

8  X  lO    PRINTS  $5.95 

5  X  7  PRINTS  $3.95 

From  KODACHROME 

3x4  PRINTS  from  16mni.  $3.95 

MiMim.'il     lineal    c|u:iliiy    Kinnalilcril   iir   your   iiujih-v  l.iicli 

Ruthenberg  Co.  Nat?'      "°  ' 


continued  development  will  build  up  ex- 
cellent shadow  detail  in  underexposed 
negatives.  Despite  its  added  speed,  graiii 
is  for  piactical  purposes  as  fine  as  th  it 
of  Panchro-Press. 

Tests  with  the  new  emulsion  indicate 
that  it  will  give  excellent  results  when 
to  cope  with  virtually  any  light  condition. 

The  new  super  film  retains  anoth"r 
valuable    trait    of    Panchro-Press — that 


KODACHROME 

DUPLICATES 

STITH-NOBLE  CORP. 

YO  0331 

645   North   Martel   Ave.,   Hollywood.  Calif. 


8 


DUPLICATE  PRINTS 
REDUCTIONS 
ENLARGING 
TITLES 

Cu^i:  f'hir   I'm  isiiiii    I.ali'n  aim  y 

GENERAL  CINE  SERVICE 


16 


■JnlR  E.   ISth  St..  New  York 
M/M  M/M 


4961     Sunset  Blvd. 


ural  Color  Pho*ograohs  " 
Dept.    A4,    Hollywood,  Calif. 


THALHAMMER 


Wt.  2U  lbs 
Closed  21" 
Extended  31 


HEAD  $8.50 
TRIPOD  $10 


" Ai  Your  Dealer's" 
THE  THALHAMMER  CO. 

121    Fremont  Ave.,    Los  Angeles 


Harms  in  New  York 

Al  Harms  of  the  Camera  Supply  Com- 
pany of  Hollywood  left  the  coast  for 
New  York  early  in  April.  He  had  been 
commissioned  by  Art  Reeves  to  buy  what 
looked  good  to  him  and  also  to  study  the 
photographic  field.  Harms  will  be  away 
several  weeks. 


Here's  Filmer's  Chance 

(Cotitinnvd  from  P(tge  ^IJ,) 
mospheiic  scenes  may  be  made  at  any 
time  or  place,  without  reference  to  the 
action    scenes    with    which    they  are 
intercut. 

The  action  also  can  be  filmed  at  any 
convenient  time,  but  of  course  against 
backgrounds  which  will  look  as  though 
they  might  be  related  to  the  scenic  shots 
the  men  are  supposed  to  be  discussing. 

Several  of  the  close  shots  of  feet,  door 
closing,  etc.,  can  be  filmed  at  any  time, 
preferably  either  on  a  cloudy  day  or  in 
ths  shade,  with  a  hose  doing  duty  for 
rain.  If  the  pavement  or  giound  is 
wet,  the  hose  can  often  sprinkle  between 
the  action  and  the  lens,  rather  than 
actually  soaking  the  players'  feet. 

The  picture  can  be  expanded  or  short- 
ened as  may  be  convenient.  In  the 
same  way,  depending  upon  the  character 
of  your  players,  you  can  either  have  one 
man  do  all  the  arguing,  or  divide  it 
between  the  two. 

Dramatically  it  is  perhaps  more  effec- 
tive if  each  has  a  chance  to  piotest  a 
few  scenes,  so  that  the  audience  gets 
the  idea  that  what  suits  one  does  not 
.■nuit  the  other,  and  vice-versa. 

On  the  other  hand,  if  you  can  per- 
suade the  chronic  arguer  of  your  club 
(every  club  has  one!)  to  play  the  part 
that  calls  for  all  the  arguing,  it  is  sure 
of  a  warm  reception  from  club  audi- 
ences! 


HOLLYUUOOD  RRT  FERTURETTES 


ART  STL  DENTS  A 


mOTION 
PICTURES 
QF  RRT 


mODELS  /\  


ppciFic  cinE  Films  "SVL-L^^iso^wr 


220     American  Cinematocrapher 


May,  1938 


Germany's  Photographic  Exports 
Last  Year  Exceeded  Year  Before 


Haller  Wins  Award  for  March 

(Continiu'd  from  Page  IHJ,) 
would  seem  to  bear  out  the  suggestion — 
in  giving  their  decision  to  the  production, 
to  the  star,  to  the  supporting  actress,  to 
the  cinematographer,  second  honors  for 
the  director — and  mind  you,  there  were 
thirteen  pictures  in  the  running — second 
honors  for  supporting  actors  and  third 
honors  for  one  of  the  two  actors." 

Interested  in  Mass 

The  cameraman  smiled  when  asked  if 
it  were  true  he  was  a  hound  for  detail. 
"I  wouldn't  put  it  that  way,"  he  answered. 
"I  am  interested  first  in  the  mass — that 
is  where  I  concentrate — in  watching 
actors  as  they  move  about,  in  studying 
people  and  their  movements  and  planning 
my  lighting.  And  while  I  am  doing  that 
my  second  man  is  doing  his  part,  too. 

"Of  course,  in  the  beginning  I  read  a 
story  several  times,  and  each  night  I 
study  the  following  day's  work.'" 

Asked  if  any  expedients  were  employed 
in  photographing  "Jezebel"  that  might 
be  rated  out  of  the  ordinary  the  camera- 
man admitted  in  some  of  the  scenes  he 
had  used  a  diffusion  device — the  "build- 
ing rf  a  house"  over  the  head  of  Miss 
Davis,  for  instance,  in  the  ballroom  scene. 

As  Haller  interpreted  the  sequence  a 
steady,  portrait  lighting  was  required, 
one  that  would  softly  surround  the  bold 
young  person  who  dared  convention  by 
wearing  a  red  gown  when  white  was  the 
social  law  for  an  unmarried  woman. 
When  the  star  and  Fonda  cross  the  dance 
floor  all  the  other  girls  in  the  billowing 
dresses  of  white  melt  away. 

As  the  features  of  the  offending  young 
woman  harden  against  the  deeply  humili- 
ating snub  the  lighting  from  the  "little 
house''  catches  the  play  of  emotion.  A 
little  rod,  with  another  light,  which  was 
cast  backward  on  the  features  of  the 
unnoticing  star,  was  a  second  device 
which  Haller  tried  for  this  exactincv 
scene. 

It  will  be  of  deep  interest  to  amateurs 
to  learn  that  Haller  for  two  and  a  half 
years  has  been  an  ardent  follower  df 
8mm. — in  Kodachrome.  He  has,  too,  a 
deep  respect  for  the  accomplishments  in 
color  photography  by  amateurs,  examples 
of  which  he  has  seen  on  the  screen. 

"It  is  my  belief  that  in  the  years  to 
come  color  will  be  the  main  thing,"  de- 
clared the  photographer  of  "Jezebel."  "In 
many  respects  I  am  sure  it  is  going  to 
be  easier  to  photograph  in  color  than  it 
is  in  black  and  white.  Then,  too,  there 
is  much  that  can  be  done  better  in  color 
than  in  black  and  white.  And  when  the 
time  does  come  for  color  generally  I  aim 
to  be  all  set." 


Notable  Record 

The  meeting  of  the  Chicago  Cinema 
Club  April  21  was  its  453d  stated 
gathering.  That's  a  notable  record  for 
any  cinema  club,  even  in  a  town  with 
the  population  of  the  Midwest  metropolis. 
One  of  the  features  of  the  session  was 
the  annual  .showing  of  amateur  subjects 
at  least  five  years  old. 


EXPORTS  of  photographic  goods  from 
Germany  during  1937  amounted  to 
10,6fil  metric  tons,  valued  at  $33,096,000, 
an  increase  of  19  percent  in  volume  and 
35  percent  in  value  compared  with  the 
8995  metric  tons,  valued  at  $24,434,000, 
exported  during  193G,  according  to  a  re- 
port made  public  by  the  Department  of 
Commerce. 

The  trade,  which  was  composed  of 
cameras  and  parts,  photographic  films, 
dry  plates,  and  photographic  paper,  reg- 
istered a  gain  in  the  exports  of  every 
item  when  compared  with  1936,  statistics 
show. 

Cameras  and  parts  accounted  for  ap- 
proximately 45  percent  of  the  total  value 
of  Gei-many's  export  trade  in  photo- 
oraphic  goods  during  1937.  Exports  of 
these  items  during  that  year  were  re- 
corded at  940  metric  tons,  valued  at 
$14,856,000,  compared  with  726  metric 
tons,  valued  at  $11,552,000,  in  the  pre- 
ceding year. 

Exports  of  photographic  films,  other 
than  motion  picture  films,  were  next  in 
importance,  accounting  for  goods  valued 
at  $5,927,000,  as  against  $5,521,000  in 
1936.    Greatest  single  gain  in  the  value 


FOR  SALE 

REBUILT  SILENCED  AND  STANDARD  BELL 
&  HOWELL  170°  CAMERAS;  Bell  &  Howell 
sinirle  system,  complete;  rebuilt  B  &  H  sound 
printers  ;  rebuilt  Duplex  sound  and  picture 
printers :  200  ft.  Stinemann  developing  reels ; 
used  measuring  machines.  Used  Mitchell  cam- 
eras, complete  Akeley  camera  equipment.  Akeley 
1000-ft.  magazines,  synchronous  camera  motors. 
Bell  &  Howell  1000  ft.,  400  ft.  magazines. 
Motors,  sunshades,  finders,  lenses  and  all  ac- 
cessories. 

Write,  wire  or  cable : 
MOTION    PICTURE    CAMERA    SUPPLY,  INC. 
723  Seventh  Avenue  New  York  City 

Cable :  Cinecamera 

BELL  &  HOWELL  5-WAY  SOUND  PRINTER. 
Generators,  Panel  Control  Boards,  Duplex  Print- 
ers, Sound  Moviolas.  Developing  Machines, 
Blimps,  Dolly,  B  &  H  splicers,  Mitchell  and 
B  &  H  Silent  Cameras,  Motors,  High-Speed 
Gear  Boxes,  Light  Testers,  Projection  and  Light- 
ing Equipment.  Guaranteed  optically  and  me- 
chanically perfect.  Send  for  1937  Bargain 
Catalogue.  Hollywood  Camera  Exchange.  1600 
Cahuenga  Blvd.,  Hollywood,  California.  Cable 
Hocamex. 


WE  BUY.  SELL  AND  RENT  PROFESSIONAL 
AND  16  mm  EQUIPMENT  NEW  AND  USED. 
WE  ARE  DISTRIBUTORS  FOR  ALL  LEAD- 
ING MANUFACTURERS.  RUBY  CAMERA 
EXCHANGE,  729  Seventh  Ave..  New  York  City. 
Established  since  1910. 


COMPLETE  DODGE  SOUND  TRUCK.  READY 
for  production — Blue  Seal  variray  variable  area 
recording  system — converter,  mike  boom,  exten- 
sion mixer,  batteries,  cables,  all  accessories — - 
guaranteed. 

BLUE  SEAL  SOUND  DEVICES,  INC. 

723  Seventh  Ave.  New  York  City 


PRINTING  and  duplicating  of  motion  pictures. 
Continuou!  machine  development  under  sensito- 
metric  control.  RUSSELL  I.  CAPWELL.  42 
West  Warwick  Ave.,  West  Warwick,  R.  I. 


of  Germany's  photographic  goods  ex- 
ports during  1937  was  in  photographic 
paper,  of  which  $5,521,000  worth  was 
exported  again.st  only  $1,700,000  in  the 
preceding  year. 

The  United  States  was  Germany's 
most  important  foreign  customer  for 
photographic  goods  during  1937  as  well 
as  in  1936.  During  1937  exports  to  this 
country  in  this  line  amounted  to  193 
metric  tons  (value  not  available)  com- 
pared with  103  metric  tons  in  1936. 
T 

New  Swedish  Theater 

In  a  new  office  building  about  to  be 
erected  in  the  center  of  Stockholm  a 
large  motion  picture  theater  will  be  in- 
stalled, with  a  seating  capacity  of  1300 
spectators.  The  theater,  which  is  ex- 
pected to  be  the  second  largest  picture 
house  in  Sweden,  will  be  leased  by  the 
RiteatraiTia  Aktb.,  already  operators  of 
11  picture  houses  in  Stockholm. 

According  to  plans  the  theater  will  be 
ready  for  business  about  January  1, 
1939,  and  will  show  both  American  and 
Swedish  films,  reports  the  commercial 
Attache  in  Stockholm. 


BELL  AND  HOWELL  170°  CAMERAS— High 
speed  shuttles — high  speed  gear  boxes — 400  and 
1000  foot  Bell  &  Howell  magazines — Bell  & 
Howell  tripods — motors.  Mitchell  silenced  cam- 
eras. AKELEY  and  DEBRIE  CAMERAS.  Akeley 
motors.  High  speed  motors.  Sunshades,  lenses 
and  finders. 

Write  or  Wire 
CAMERA  EQUIPMENT,  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 


TURRET   EYEMO,    3    LENSES,    400  FT 
MAGAZINES,    MOTOR,  SPECIAL 

FINDER,  TRIPOD,  LIKE  NEW  $900.00 

DE  BRIE,   METAL.   4   LENSES,  COM- 
PLETE ACCESSORIES    500.00 

CAMERA-MART 

70  WEST  45th  ST.  NEW  YORK  CITY 

ONE  70  mm.   FEARLESS  silenced  camera;  two 
chanical  condition.    Write  or  wire. 
1000    ft.    magazines  ;    50,    75    and    100mm  F2 
lensea.      This    equipment    is    in    perfect  me- 
chanical  condition.     Write  or  wire. 

CAMERA  EQUIPMENT.  INC. 
1600  Broadway  Ntw  York  Citv 

Tel.  Circle  6-5080  Cable:  Cinequip 


WANTED 


WE  PAY  CASH  FOR  YOUR  USED  CAMERA, 
LABORATORY     AND     STUDIO  EQUIPMENT. 

Write,  wire  or  cable 
MOTION    PICTURE    CAMERA    SUPPLY,  INC. 
723  Seventh  Avenue.  New  York  City 

WANTED :  We  pay  cash  for  everything  photo- 
graphic. Send  full  information  and  lowest  cash 
prices.  HOLLYWOOD  CAMERA  EXCHANGE. 
1600  Cahuenga  Blvd.,  Hollywood,  Calif^  


WANTED  TO  BUY  FOR  CASH 


CAMERAS  AND  ACCESSORIES 
MITCHELL,  B  &  H,  EYEMO,  DEBRIE,  AKELEY 
ALSO    LABORATORY    AND    CUTTING  ROOM 
EQUIPMENT 
CAMERA  EQUIPMENT,  INC. 
1600   BROADWAY,  NEW  YORK  CITY 
CABLE:  CINEQUIP 


CLASSIFIED  ADVERTISING 


AND  HERE'S  THE  SCREEN 
FOR  BRIGHTER  SHOWINGS 

of  Each  New  Film 

From  now  on,  you'll  be  taking  pictures  often.  See 
these  new  films  at  their  best  —  on  a  Da-Lite  Glass- 
Beaded  Screen!  The  beads  on  its  surface  —  applied 
by  Da-Lite's  advanced  method — assure  maximum  re- 
flection of  light;  yet  there  is  no  sparkling  or  glare. 
The  uniform  coating  of  beads  difl'uses  the  light  over 
a  wide  area  and  brings  out  details  with  remarkable 
clarity.    Color  pictures  are  especially  brilliant  and 

beautiful,  for  all  color 
values  are  faithfully  re- 
produced. The  beads  are 
guaranteed  not  to  shatter 
ofl".  Da-Lite  Class-Beaded 
Screens  are  available  in 
many  types  of  mountings 
including 


THE 


The    Challenger    can    be  set-up 
15  seconds. 


Req.  U.  S.  Pat.  Off. 


CHALLENGER 

In  this  model,  the  Da-Lite  Glass-Beaded  screen  fabric 
is  roller-mounted  in  a  metal  case,  to  which  a  tripod 
is  pivotally  attached.  The  Challenger  can  be  set  up  in 
15  seconds  and  may  be  adjusted  in  height  to  meet  any 
projection  requirement.  It  is  now  available  in  12  sizes 
from  30"  x  40"  to  70"  x  94".  Ask  your  dealer  to  show 
you  the  Challenger  and  other  Da-Lite  Screens  —  fa- 
mous for  quality  for  more  than  a  quarter  of  a  century. 
In  the  meantime,  write  for  descriptive  literature! 

Da-Lite  Screen  Co.,  Inc. 

Dapt.  SAC,  2723  N.  Crav/ford  Ave,  Chicago,  III. 


Society  of  Amateur 
Cinematographers 

CHARTER  MEMBERSHIP 
CLOSED 

^  ^ 

THERE  WILL  BE  ONLY  1000 
REGULAR  MEMBERSHIPS 
AVAILABLE- 
THEN  THE  MEMBERSHIP  WILL 
BE  CLOSED 

4- 

Fee  $5.00  a  Year 

Membership  will  include  a  subscription  to  the 
American  Cinematographer.  It  also  will  include 
the  use  of  the  outstanding  films  made  by  members 
of  the  Society  of  Amateur  Cinematographers.  If 
films  are  submitted,  the  best  will  be  duplicated  and 
an  analysis  prepared  by  members  of  the  American 
Society  of  Cinematographers.  This  analysis  will  go 
with  the  picture  and  the  picture  will  be  available  to 
any  member  of  the  Society  of  Amateur  Cinema- 
tographers. 

Technical  consulting  service. 

Film  review  service.  Send  your  films  if  you  like  for 
criticism  and  review  by  the  acknowledged  camera- 
masters  of  the  world,  by  Hollywood's  greatest 
Directors  of  Photography. 


Society  of  Amateur  Cinematographers 
1782  North  Orange  Drive 

Hollywood,  Calif.  Date  

I  hereby  apply  for  membership  in  the  Society  of  Amateur 
Cinematographers.  My  remittance  for  $5.00  made  payable 
to  the  Society  includes  the  payment  of  dues.  Of  this 
amount  $2.50  is  to  apply  to  a  year's  subscription  to  the 
American  Cinematographer. 

MEMBERSHIP— $5.00  a  year 


Name   

Street   

City   State  

Please  print  name  and  address 


A  Sound  Recorder  to 
Match  Your  Camera 


The  Mitchell  Recorder 
and  Camera  Offer  to 
Producers  the  Only 
Complete  Sound  and 
Picture  Recording 
System  Built  By  One 
Manufacturer  to  the 
Highest  Standards 


PRECISION  BUILT 
FOR  BEST  RESULTS 

Mitchell  Camera  Corporation 

665    NORTH    ROBERTSON  BOULEVARD 
WEST    HOLLYWOOD,  CALIF. 

Cable  Address  "MITCAMCO"  Phone  OXford  1051 

AGENCIES 


BELL  &  HOWELL  CO.,  LTD..  London,  England 
CLAUD  C.  CARTER,  Sydney,  Australia 
D.  NAGASE  &  CO.,  LTD.,  Osaka,  Japan 


MOTION  PICTURE  CAMERA  SUPPLY,  INC.,  New  York  City 
BOMBAY  RADIO  CO.,  LTD.,  Bonnbay,  India 
H.  NASSIBIAN,  Cairo,  Egypt 


^  One  outstanding  feature  of 
Du  Pont  cine  film  products  is 
their  ability  to  record  all  the 
variations  in  tone  between  the 
deepest  shadow  and  the  bright- 
est high  light. 

For  better  pictures  in  your 
next  production  use  Du  Pont 
Superior  Pan. 


Du  Pont  Film  Manufacturing  Corporation 

INCORPORATED 

9  Rockefeller  Plaza  SMITH  &  ALLER,  LTD. 

New  York.  .  .  .  N.  Y.  6656  Santa  Monica  Blvd. 

Plant  .  .  Parlin,  N.J.  Hollywood  .  .  .  California 


BETTER  raJNQS  for  BETTER  LIVINQ  through  CHEMISTRY 


June,  l',t38    •    American  Cinematocrapher  221 


Ace  Cameraman  Prais( 


tH.t  r;, Y«r4.  XJ-" 


..-jomo    "    t,n«  n. 


Newsreer'  Wong  Films  War  in  China  with  Eyemo 


N 


EWSREEL"  Wong  rates  as  one  of  the  ace 
cameramen  in  the  Orient.  His  thrilling  shots, 
made  under  fire,  have  amazed  picture  audiences  the  world 
over.  And  like  other  leading  cameramen,  Wong  relies 
implicitly  on  his  Eyemo. 

As  Wong  states  in  his  letter,  the  versatile  Eyemo  sur- 
mounts even  the  difficulties  met  in  filming  the  battlefield. 
Because  of  its  ease  of  handling,  the  cameraman  is  able 
to  follow  the  swift  shifting  points  of  action.  The  Eyemo 
is  instantly  convertible  to  meet  any  emergency.  A  quick 
change  of  lenses?  .  .  .  conversion  from  100-foot  film 
capacity  to  200-  or  400-foot  magazines?  ...  a  tripod 
mount  or  a  light  easy-to-handle  hand  camera?  ...  a 
change  from  electric  to  spring  or  hand  drive?  ...  a  silent 
camera  or  a  hookup  for  sound?  .  .  .  slow  motion  or  silent 
or  sound  speeds?  Whatever  the  need,  there  is  an  Eyemo 
model  or  accessory  to  meet  it. 


BELL  &  HOWELL 


Built  with  typical  Bell  &  Howell  precision,  the  new 
Eyemo  is  more  than  sufficiently  sturdy  to  withstand 
the  strenuous  work  that  characterizes  newsreel  pro- 
duction. Such  features  as  three-lens  turret,  focusing 
and  diaphragm  controls  visible  through  the  spyglass 
viewfinder,  and  accurate  speeds  make  the  new  Eyemo 
more  flexible  than  ever  before. 

Send  this  coupon  now  and  get  complete  informa- 
tion describing  the  Eyemo  in  detail.  No  obligation 
whatsoever.  Bell  &  Howell  Company,  1848  Larch- 
mont  Avenue,  Chicago.  New  York:  11  West  42nd 
Street;  Hollywood:  716  North  LaBrea  Avenue;  Lon- 
don: 13-14  Great  Castle  Street.  Established  1907. 

MAIL    COUPON    FOR    FULL  INFORMATION 

BELL  &  HOWELL  COMPANY  .c  e 

1848  Larchniont  Avenue,  Chicago,  Illinois 
Please  mail  me  complete  information  about  Eyemo  Cameras. 

Name  

Address  

City  State  


222       AmKKICAN  GiNKMATOCKAI'lIKIl     •     Juiie,  liKiH 


Producer: 
SAM  BISCHOFF 
Director: 
RAY  ENRIGHT 

Cameramen: 


'The  Sun's  Only  Rival"  at  work  on  a  scene 
from  Warner  Bros,  rollicking  new  musical 
GOLD  DIGGERS  IN  PARIS 


i 


G-E  MAZDA  lamps  boost  daylight 


In  sunlight,  G-E  MAZDA 
^i/'^j^J'^  lamps  are  handy.  Many 
j'r)  cameramen  use  them  for 

softening  shadows  or  mak- 
ing shots  when  the  sun  is  wrong  for  the 
camera  angle  required. 

Now  G-E  MAZDA  lamps  are  available 
with  a  brighter,  whiter  light,  which  not 
only  rivals  sunlight,  but  blends  with  it. 
This  feature  is  helpful  in  black-and-white, 
essential  in  color  work. 


G-48  Spotlight 


Add  to  this  that  they  go  into  action  fast; 
are  especially  handy  for  lighting  cramped 
quarters;  and  permit  faster,  more  efficient 
shooting  schedules,  and  you  will  quickly 
see  why  they  are  so  widely  used. 

There  is  a  type  and  size  to  meet  any 
need  from  general  set  lighting  to  special 
effects  and  process  work.  Are  you 
benefiting  fully  from  this  versatility 
General  Electric  Company,  Nela  Park, 
Cleveland,  Ohio. 


GENERAL  ^  ELECTRIC 

MAZDA  LAMPS 


June,  1938    •    American  CiNEMATOfiRAPHER  223 


AMERICAN 
CINEMATOGRAPHER 


A  Technical  and  Educational  publication 
on  motion  picture  photography. 

Published  monthly  by  the 

AMERICAN  SOCIETY 

OF  CINEMATOGRAPHERS.  INC. 

1782  North  Orange  Drive 

Hollywood  (Los  Angeles),  California 

Telephone  GRanite  2135 

VICTOR  MILNER.  President. 
KRED  W.  .lACKMAN.  Treasurer. 


Vol.  19 


June.  1938 


No.  (i 


Contents 


Within  year  or  two  public  will  insist  on 

color,  says  Harkrider  224 

By  George  Blaisdell 

Professional's    requirements    in  Light 

Meters  awaiting  inventor  226 

By  Victor  Milner 

Tower  Pictures  make  first  sound  16tnni. 
feature  length  production  228 

Jackman  develops  color  process  and  will 
expand  plant  to  handle  229 

Long  record  and  more  honor  for  Tony 

Gaudio  on  his  screen  work  230 

By  Alex  Evelove 

Warners'  'Robin  Hood'  awarded  photo- 
graphic honors  for  month  231 

What  About  Me?  232 

By  Bee  Gee,  A.S.C. 

Mate   blends   arcs   and   inkies   to  light 
'Marco  Polo'  stages  234 
By    William    Stull,  A.S.C. 

Hessercolor  making  enlargements  from 
35mm.  color  transparencies  240 


The  Front  Cover 

On  the  Front  Cover  this  month 
of  June  is  a  scene  from  a  great 
story  of  the  outdoors,  a  story  of 
Robin  Hood,  one  who  in  his  legen- 
dary day  when  he  took  from  the 
rich  and  gave  to  the  poor  was  ac- 
claimed a  hero.  But  that  was  long 
ago. 

Warners  repeats  in  winning  the 
best  production  of  the  month,  ac- 
cording to  the  Hollywood  review- 
ers. The  photographers  on  the 
subject  were  Tony  Gaudio,  A.S.C, 
and  Sol  Polito,  A.S.C,  for  War- 
ners and  W.  Howard  Grene,  A.S.C, 
for  Technicolor.  Al  M.  Greene 
was  operative  cameraman.  Mac 
Julian   photographed   the  still. 


The  Staff 


EDITOR 

George  Blaisdell 

WASHINGTON 
STAFF  CORRESPONDENT 
Reed  N.  Haythorne,  A.  S.  C. 

TECHNICAL  EDITOR 

Emery  Huse.  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 

Victor  Milner,  A.  S.  C. 
James  Van  Trees,  A.  S.  C. 
Fred  W.  Jackman,  A.  S.  C. 
Farciot  Edouart,  A.  S.  C. 
Fred  Gage.  A.  S.  C. 
Dr.  J.  S.  Watson.  A.  S.  C. 
Dr.  L.  A.  Jones.  A.  S.  C. 
Dr.  C.  E.  K.  Mees,  A.  S.  C. 
Dr.  W.  B.  Rayton,  A.  S.  C. 
Dr.  Herbert  Meyer,  A.  S.  C. 
Dr.  V.  B.  Sease.  A.  S.  C. 

CIRCULATION  MANAGER 

L.  F.  Graham 

NEW  YORK  REPRESENTATIVE 

S.  R.  Cowan,  19  East  47th  St.,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 

Georges  Benoit,  100  Allee  Franklin, 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 

AUSTRALIAN  REPRESENTATIVE 

McGiU's.  179  Elizabeth  Street.  Melbourne, 
Australian  and  New  Zealand  agents. 

Neither  the  American  Clnematographer  nor 
the  American  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. This  magazine  will  not  be  respon- 
sible for  unsolicited  manuscripts. 


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'224      Ameiucan  Cinkma ro(;i<Ai'HKR    •    .June,  \'X',H 


Within  Year  or  Two  Public  JVill 
Insist  on  Color,  Says  Harkrider 

Producer  of  Stage  and  Screen,  Ziegfeld  Associate 
During  Production  of  Nineteen  Shows,  Declares 
Time  Is  Near  When  Patrons  Will  Clamor  for 
Programs  of  Productions  Like  Recent 
Color  Films— Mixed  Bills  Cited  as 
Ready-Made  Propaganda 


WITHIN  a  year  or  a  year  and  a 
half  there  will  be  a  strong-  de- 
mand on  the  part  of  the  picture- 
going  public  for  color  on  the  screen — a 
demand  so  unquestioned  in  its  volume, 
so  insistently  vocal,  that  heed  will  be 
paid  it  by  producers  who  aim  to  give 
the  public  what  they  are  assured  it  will 
pay  for. 

That  is  the  considered  opinion  of  John 
Harkrider,  producer  of  stage  and  screen 
spectacles — do  you  recall  the  "Melody" 
number  in  "The  Great  Ziegfeld"? — and 
creator  and  art  director. 

The  "Melcdy"  number  is  cited  because 
it  is  one  that  will  be  familiar  to  picture- 
goers  the  world  around.  But  behind  the 
creating  of  that  number  there  had  boen 
a  lot  of  work  in  preparation  for  it. 

It  was  in  1917  that  John  Harkrider 
came  to  Hollywood — from  Texas.  He 
remained  here  until  1921,  first  working 
as  an  actor  and  then  as  art  director. 
As  an  actor  he  got  a  chance  to  learn 
at  first  hand  what  the  studios  were  do- 
ing. At  that  time,  he  intimated  recently, 
things  were  much  different.  Ma'^y  of 
those  on  the  lots  then  are  net  now  in 
evidence.  Some  who  were  then  just  on 
the  sets  now  are  top  men  in  the  industiy. 

In  1921  the  actor  who  turned  ait 
director  went  to  New  York,  where  lie 
joined  the  staff  of  Ziegfeld.  Here  he 
remained  until  the  death  of  the  great 
producer.  In  all  he  was  with  him  on 
nineteen  productions. 

List  of  Greats 

Among  these  were  Show  Boat,  Rio 
Rita,  Whoopee,  Seven  Follies,  Show  Girl, 
Simple  Simon,  Palm  Beach  Nights,  Three 
Musketeers,  Rosalie,  and  Music  in  the 
Air  for  Peggie  Fears  and  A.  C.  Blumen- 
thal. 

At  Guild  Hall,  the  little  theatre  in 
East  Hampton,  Long  Island,  he  was 
given  a  chance  to  produce  and  direct  new 
plays  and  musicals.  Some  of  tho.se  who 
were  with  him  were  Helen  Morgan, 
Norma  Terriss,  Harriet  Hoctor,  James 
Melton,  Michael  Bartlett,  Sheila  Bartlett 
and  Fray  and  Braggiotti. 

In  1930,  Harkrider,  then  an  associate 
producer  for  Ziegfeld,  preceded  the  .show- 


By  GEORGE  BLAISDELL 

man  to  the  Coast  to  represent  him  in  all 
production  plans  when  "Whoopee"  was 
made  for  Goldwyn.  He  was  also  co-pro- 
ducer with  Ziegfeld  on  his  last  two 
shows.  He  was  pageant  master  for  Sto- 
kowski  with  the  Philadelphia  Orchestra, 
the  Mardi  Gras  in  New  Orleans,  The 
Veiled  Prophet  in  St.  Louis,  The  Priest 
of  Palais  in  Kansas  City,  The  Battle  of 
Flowers  in  San  Antonio,  and  pageants  in 
Dallas,  Fort  Worth,  Houston  and  Ashe- 
ville. 

Harkrider  right  now  is  working  among 
other  activities  on  the  preparation  for 


Johyi  Harkrider 

the  fir-st  time  of  "Ziegfeld  Follies  on  the 
Ail-"  that  are  entirely  original  musicals. 
Each  of  the  twenty-six  weekly  one-hour 
broadcasts,  starting  in  the  fall,  will  con- 
tain three  musical  production  numbers, 
a  surprise  novelty  and  three  songs. 

Each  performance  will  be  a  separate 
program,  with  different  cast,  includin", 
only  the  director,  musical  director  and 
.staff.  Miss  Patricia  Ziegfeld,  daughter 


of  Florenz  Ziegfeld,  is  active  in  the 
Ziegfeld  Corporation,  which  is  produc- 
ing the  show. 

Deal  for  the  New 
It  is  believed  the  new  broadcast  series 
perhaps  will  represent  greater  effort  in 
preparation  than  any  preceding  parallel 
attempt.  In  addition  to  the  engagement 
of  established  and  musical  personalities 
there  will  be  new  composers  and  new 
authors. 

Before  going  into  the  show  each  week 
the  settings  and  costumes  and  cast  will 
be  briefly  described  over  the  air.  The 
following  week  one  of  the  national  maga- 
zines will  display  photographs  of  the 
sets  and  performers. 

As  was  explained  by  the  producer,  it 
is  the  aim  of  the  Ziegfeld  Hour  to  fea- 
ture beauty.  Fundamentally  it  is  aiming 
to  accomplish  in  music  and  words  what 
Ziegfeld  achieved  in  sets  and  costumes. 
That  is  for  the  outside  audience. 

It  is  planned  to  do  more.  For  the 
performers  the  design  is  to  create  glamor 
that  will  take  the  place  of  the  distin- 
guished audiences  who  attended  the 
Ziegfeld  Follies  openings,  to  create  at- 
mosphere, so  to  stimulate  stage  condi- 
tions that  the  great  audience  out  on 
the  air  will  be  a  reality  to  the  actors 
and  bring  out  of  them  their  best. 

But  let's  slip  back  to  that  hillside 
home  where  we  left  John  Harkrider  talk- 
ing about  the  coming  of  color,  of  the 
many  factors  he  visions  as  contributing 
to  stimulate  that  demand. 

One  of  these  factors  is  a  quartet  of 
color  films  that  have  spread  their  iiv 
fluence  over  the  world  in  recent  months. 
These  Harkrider  lists  as: 

"Gold  Is  Where  You  Find  It." 

"Robin  Hood." 

"Goldwyn  Follies." 

"Tom  Sawyer." 

Creating  Advocates 

Then  there  are  the  much  discussed 
double  bills,  thom  in  the  fiesh,  if  we 
may  believe  what  we  read,  of  about 
every  one  in  the  business  and  out  of  it. 
Protagonists  there  must  be  or  we  would 
not  have  them,  but  they  have  no  mouth- 
piece. 

Whenever  it  happens  a  color  film  is 


June,  1938    •    American  Cinematographer  225 


tied  in  with  one  in  black  and  white 
right  there  are  created  advocates  for 
color  in  pictures.  And  frequently  it  does 
happen,  suggested  the  producer.  On  the 
day  this  is  written  in  Hollywood  two 
theatres  on  the  Boulevard  are  showing 
a  combination  of  colored  and  black  and 
white  pictures. 

And  come  to  think  of  it,  one  of  the 
color  representatives  is  the  first  named 
in  the  foregoing  listed  quartet  and  the 
other  is  the  second  in  order. 

"It  is  in  such  a  program,"  declared 
the  producer,  "that  the  exhibitors  are 
lending  their  theatres  to  educate  picture- 
goers  in  color,  to  establish  color  in  the 
audience  mind,  and  to  play  their  part  in 
the  inevitable  coming  of  color  as  the 
rule  and  not  the  exception." 

That  one  of  the  main  retarding  in- 
fluences is  the  present  apparently  in- 
escapable expense  attached  to  color 
production  was  freely  admitted  by  Hark- 
rider.  "But  that  is  a  situation  that  will 
take  care  of  itself,"  he  said. 

"To  even  think  it  will  not  is  to  flout 
all  experience  in  industrial  history.  In 
the  aggregate  the  world  around  literally 
there  must  be  thousands  who  are  burn- 
ing midnight  fuel  battling  for  the  solu- 
tion of  that  problem — securing  color  of 
high  quality  that  is  simply  and  inex- 
pensively made. 

"And  it  is  hardly  conceivable  that  any 
agency  is  spending  quite  the  energy  and 
money  that  is  being  devoted  to  that  end 
by  the  two  chief  manufacturers  of  color 
pictures." 

The  producer  called  attention  to  the 


suddenness  with  which  things  happen  in 
the  motion  picture  industry — citing  the 
familiar  snowball  that  has  to  be  rolled 
and  started,  but  once  on  its  way  is  soon 
beyond  control. 

Creating  Moods 

He  pointed  out  the  things  that  could 
be  done  by  the  art  director  when  given 
color  for  a  medium  in  which  to  work, 
how  by  choosing  his  color  he  can  in- 
fluence audience  emotions,  for  example 
suggesting,  in  ways  so  subtle  as  to  be 
unrecognizable  by  the  layman,  the  mood 
of  sadness  or  of  gayety,  of  relaxation 
or  of  restlessness. 

"We  have  both  seen  how  the  industry 
follows  the  leader,"  the  speaker  con- 
tinued, "followed  the  lead  in  a  cycle  of 
stories,  after  one  of  a  particular  descrip- 
tion has  scored  a  hit;  in  the  adoption 
of  mechanical  devices  in  production,  as 
an  example  of  which  we  do  not  have  to 
go  any  further  than  to  mention  what 
happened  when  Warners  suddenly  leaped 
into  the  realm  of  sound. 

"So  it  will  be  with  color.  That  will 
be  the  day  of  the  art  director  and  also 
and  most  emphatically  the  day  of  the 
cameraman.  In  that  day  the  two  must 
work  together  even  more  closely  than 
they  do  today. 

"Now  regarding  this  color  era  which 
seems  to  be  generally  conceded  is  on  the 
way,"  asked  the  interviewer,  "it  has 
been  my  thought  that  in  the  day  of 
color  the  cameraman  will  come  into  his 
own  even  more  than  he  has  up  to  the 
present  time. 


"I  have  felt  the  ambitious  man,  the 
keenly  progressive  one,  regardless  of 
his  present  age  or  the  number  of  years 
he  has  been  around  a  camera  or  the 
recognition  he  has  been  accorded,  will 
become  both  preceptor  and  student,  so 
to  speak,  to  secure  a  first-hand  knowl- 
edge of  color  harmony. 

"Further,  he  will  not  wait  until  the 
dam  gives  way — he  will  anticipate  the 
break.  As  a  matter  of  fact  I  think  in- 
vestigation will  reveal  several  camera- 
men already  are  prosecuting  study  on 
color  in  their  own  way,  that  they  plan 
to  be  ready  to  add  to  their  own  hard 
earned  knowledge  of  cameracraft  the 
fundamentals  of  the  art  director's  craft 
— eventually  to  step  on  a  set  and  crit- 
ically review  the  color  scheme  that  has 
been  provided.  They  will  study  it  from 
the  viewpoint  of  how  the  film  they  are 
using  will  reproduce  the  colors  before 
them. 

Changing  Over 

"Of  course,  I  am  not  speaking  of  the 
veterans  who  for  years  have  been  work- 
ing in  color  photography,  but  rather 
those  whose  work  mainly  has  been  in 
black  and  white." 

Harkrider  smiled.  "There  are,  of 
course,  photographers  who  are  just  as 
capable  of  visualizing,  of  dramatizing, 
color  as  art  directors,"  he  said  thought- 
fully. "Then  again  there  is  no  reason 
why  an  ai-tist  in  black  and  white  should 
not  be  an  artist  in  color,  given  the  neces- 
sary preparation — and  experience. 

"But  you  will  find  that  cameramen  fall 

(Continued  on  Page  2S6) 


Demonstrating 
and  making  visual 
the  impression  of 
richness  of 
shadow  in  black  and 
white,  its  power  to 
dramatize,  to  which 
Mr.  Harkrider 
refers  in  the  course 
of  his  chat, 
here  is  a 
reproduced 
photograph  of  an 
artist's  sketch  for  a 
scene  in  Ziegfeld's 
"Three  Musketeers," 
in  which  appeared 
Dennis  King, 
Vivienne  Siegel 
and  Harriet  Hoctor 


226     American  Cinkmatographer    •  June, 


ProfessionaVs  Requirements  in 
Light  Meters  Awaiting  Inventor 

While  Cinematographer  Has  Been  Given  More  Sensitive 
Film,  Better  Cameras  and  Lenses  and  Advanced 
Lighting  Equipment,  He  Lacks  Light  Meter 
That  Both  In  Doors  and  Out  Fully  Will 
Match  Contemporaries'  Equipment 

By  VICTOR  MILNER 


IN  the  scientific  advances  undergone 
by  the  motion  picture  industry  dur- 
ing the  last  decade  the  cinematog- 
rapher has  in  many  ways  been  the  for- 
gotten man.  Admittedly  he  has  better 
instruments  today  to  serve  his  purpose; 
but  without  exception  they  are  simply 
improvements  on  the  instruments  he  used 
a  dozen  years  ago. 

He  has  more  sensitive  film,  better 
cameras  and  lenses,  and  more  con- 
trollable lighting  equipment,  but  all  of 
these  are  merely  improvements  over 
past  apparatus. 

In  the  meantime,  the  technical  phases 
of  the  industry  have  grown  increasingly 
more  and  more  scientific.  With  this 
general  advancement  virtually  every 
other  key  technical  expert  has  devised 
or  been  supplied  with  equipment  and 
methods  which  apply  scientifically  ac- 
curate principles  to  the  speedy  solution 
of  his  daily  problems. 

The  recording  engineer  has  meters 
which  accurately  indicate,  and  in  some 
cases  govern  the  perfornaance  of  his 
equipment.  The  film  laboratory  expert, 
who  but  a  few  years  ago  relied  almost 
wholly  on  instinct  guided  by  skilled  ex- 
perience, now  has  the  incalculable  scien- 
tific aid  of  sensitometric  control  to  gov- 
ern his  processing  of  negative  and 
prints. 

Other  technical  experts  have  compa- 
rable scientific  aids  to  the  precise  per- 
formance of  their  duties,  whether  they 
be  purely  technical  or  artistico-tech- 
nical. 

Still  Artistically  Free 
It  has  been  proved,  too,  that  none 
of  these  individuals  has  lost  either 
artistic  freedom  or  professional  stand- 
ing by  accepting  these  scientific  aids. 
On  the  contrary,  as  the  demands  for 
attention  to  semi-mechanical  details 
lessened,  their  creative  value  increased. 

In  sharp  contrast  to  this  is  the  plight 
of  the  cinematographer.  Under  today's 
production  conditions,  whether  on  the 
most  important  of  a  great  studio's  "A" 
productions  or  on  the  least  pretentious, 
independent  "quickie,"  the  cinematog- 
rapher's  responsibilities  have  increased 
many  fold. 


Without  going  into  superfluous  de- 
tail, we  need  simply  state  that  the 
cinematographer  of  today  is  expected 
to  produce  consistently  better  technical 
work  than  ever  before,  while  sharing 
the  responsibility  for  more  of  the  not 
strictly  photographic  phases  of  produc- 
tion, and  to  do  all  this  at  a  higher  speed, 
and  under  heavier  economic  pressure, 
than  at  any  time  in  the  history  of  the 
industry. 

And  he  is  expected  to  do  this  with 
substantially  the  same  mechanical  equip- 
ment he  had  in  the  much  more  leisurely 
days  of  ten  and  fifteen  years  ago! 

It  has  sometimes  been  argued  that 
the  cinematographer's  work  is  of  so  pe- 
culiarly individual  a  nature  that  no 
scientific  aid  can  be  developed,  or  that 
if  such  an  aid  were  developed,  it  would 
stifle  individuality. 

Argument  Fallacious 

This  argument  is  fallacious.  Record- 
ing engineers  can  certify  that  the  uni- 
versality of  scientific  aids  in  their  work 
has  not  prevented  some  individuals  from 
demonstrating  greater  skill  than  others. 
We  as  cinematographers  know  that  de- 
spite the  fact  that  virtually  every  film 
laboratory  utilizes  sensitometric  control, 
there  is  still  a  strongly  marked  indi- 
viduality among  laboratories  and  their 
staffs. 

Science  has  made  their  work  more 
easy  and  more  sure,  but  has  not  leveled 
it  to  a  single  standard  of  mediocrity. 

During  the  past  few  years  one  instru- 
ment has  been  introduced  which  poten- 
tially could  be  of  equal  value  to  the 
cinematographer,  relieving  him  of  much 
purely  mechanical  detail,  eliminating 
errors  due  to  physical  or  mental  fatigue, 
and  leaving  him  more  free  to  concen- 
trate his  creative  efforts  on  the  artistic 
and  dramatic  phases  of  his  work. 

This  instrument  is  the  photoelectric 
light  meter. 

Such  meters  are  in  almost  universal 
use  by  a  majority  of  our  more  pro- 
gressive directors  of  photography  today. 
But,  with  the  single  exception  of  their 
specialized  use  in  natural-color  cinema- 
tography, they  are  today  used  exclusive- 
ly for  determining  light  values  in  ex- 


terior cinematography.  They  are  almost 
never  used  in  interior  cinematography. 
And  interior  scenes  form  by  far  the 
greater  part  of  modern  production. 

This  is  not  due  to  any  lack  of  pro- 
gressiveness  on  the  part  of  the  camera 
profession.  Of  course  there  always  will 
be  some  who  are  slow  to  alter  their 
conventional  methods;  there  were  those 
who  clung  to  the  pre-war  Pathe  and 
other  cameras  for  many  years  after 
the  acceptance  of  the  more  modern  Bell 
and  Howell  and  Mitchell  designs.  There 
were  others  who  clung  to  the  rugged  in- 
dividualism of  hand  cranking  for  years 
after  we  had  motors  to  drive  our  cam- 
eras. 

But  the  fact  that  the  great  majority 
of  today's  cinematographers  have  spent 
their  own  money  to  obtain  photoelectric 
meters,  even  for  their  present  limited 
application,  shows  how  the  profession 
welcomes  such  an  aid. 

Made  for  Amateurs 

The  fact  of  the  matter  is  that  no 
meter  as  yet  available,  with  the  possible 
exception  of  one  too  bulky  for  regular, 
consistent  use,  has  been  designed,  or  is 
wholly  suited  for  all-around  professional 
use. 

The  Weston  is  today  the  type  uni- 
versally used  by  studio  cinematogra- 
phers. Yet  it  was  designed  primarily  to 
meet  the  requirements  of  the  AMA- 
TEUR. It  is  an  excellent  instrument — I 
use  one  myself — but  it  falls  short  of  the 
requirements  for  truly  widespread  studio 
use. 

The  new  General  Electric  meter  has 
not  been  on  the  market  sufficiently  long 
to  give  us  much  data  as  to  its  practical 
worth.  It,  too,  appears  to  be  primarily 
a  non-professional  instrument,  though  it 
incorporates  several  features  which  ap- 
pear truly  desirable. 

But  it  is  no  intention  of  this  writer 
to  criticise  destructively.  That  would 
serve  no  practical  purpose.  He  wel- 
comes such  advances  as  these  and  other 
manufacturers  have  made  first  in  giv- 
ing us  these  present  instruments,  and 
in  evolving  them  to  their  present  stage 
of  refinement. 

Rather,  it  is  his  purpose  here  to  set 


June,  1938    •    American  Cinematographer  227 


forth  what  he  feels,  from  his  own  ex- 
perience and  that  of  other  members  of 
the  profession,  to  be  the  basic  require- 
ments of  a  photoelectric  light  meter 
truly  suitable  for  the  use  of  the  pro- 
fessional cinematographer  both  indoors 
and  out. 

The  first  requirement  must  be  for 
a  meter  the  scanning  angle  of  which 
corresponds  closely  to  that  of  the  lenses 
most  commonly  used.  These  are  the 
50mm.  and  4()mm.  objectives.  Their 
horizontal  fields  cover  angles  of  25  de- 
grees and  30.8  degrees  respectively. 

Guide  for  Overall 

With  a  meter  scanning  such  an  angle, 
reflection  readings  made  from  camera 
position  could  be  made  on  exterior 
scenes  to  serve  as  a  really  accurate 
guide  for  overall   average  exposure. 

Knowing  this  scanning  angle  with  ac- 
curacy, it  would  be  a  simple  matter  to 
modify  the  method  of  taking  readings 
for  scenes  made  with  lenses  of  longer 
or  shorter  focus.  At  present,  with  the 
generally  wider  angled  meters,  this  is 
not  sufficiently  accurate  to  be  done  with 
confidence. 

Second,  the  truly  professional  meter 
should  have  an  adequate  hood  or  sun- 
shade capable  of  shielding  the  cell  from 
unwanted  glare  from  skies,  expanses  of 
sea,  beach,  or  sunlit  walls  in  exterior 
scenes,  and  from  backlight  and  other 
disturbing  rays  in  interiors. 

At  present  some  cinematographers 
shade  their  meters  by  taking  readings 
with  the  meter  held  in  the  camera's 
mattebox  or  by  shading  the  meter  with 
their  hands,  but  this  is  obviously  a 
makeshift  and  does  not  function  with 
uniformly   predictable  accuracy. 

Third,  and  of  extremely  great  im- 
portance, the  meter  should  be  of  far 
greater  sensitivity  in  the  extreme  low- 
intensity  region.  Most  if  not  all  exist- 
ing meters  are  seriously  deficient  in 
this  respect.  This  is  a  prime  reason 
for  the  non-use  of  such  meters  in  in- 
terior scenes. 

With  the  progressively  faster  emul- 
sions now  coming  into  more  and  more 
general  use,  less  and  less  light  is  re- 
Quired  to  maintain  an  exposure  level. 
Furthermore,  the  tendency  among  not 
merely  the  so-called  "ace"  cinematog- 
raphers but  among  all  cinematographers 
has  for  the  past  eight  or  ten  years 
been  to  use  less  and  less  light. 

This  is  only  partly  due  to  improve- 
ments in  film  and  processing:  its  pri- 
mary cause  is  in  basic  changes  in  light- 
ing technique. 

Where  a  few  years  ago  the  general 
method  was  to  lay  down  a  definite  foun- 
dation of  general  illumination  sufficient 
to  maintain  a  safe  minimum-exposure 
level,  thereafter  building  up  modeling 
and  highlighting,  today  the  technique 
of  "key  lighting"  eliminates  this  gen- 
eral illumination  and  substitutes  highlv 
specific  lighting,  in  which  each  area  is 
lit  for  its  own  specific  requirements. 
Reflection   or  Direct 

It  is  a  provable  fact  that  in  many 
instances  today  scenes — by  no  means  ex- 
clusively ultra  low-key  "effect  light- 
ings"— are  being  photographed  with  il- 


lumination levels  so  low  that  it  is  im- 
possible to  obtain  a  reading  with  the 
meters  generally  available. 

Due  to  this  technique,  a  further  fea- 
ture, in  addition  to  wider  sensitivity,  is 
needed.  This  is  a  meter  which  can  be 
used  interchangeably  either  for  reflec- 
tion readings,  as  with  present  types,  or 
for  direct  readings,  as  is  the  case  with 
the  bulky  instruments  universally  used 
with  the  Technicolor  process. 

With  such  a  meter  not  only  the  over- 
all illumination  level  on  a  set  (which 
under  professional  conditions  is  of  only 
incidental  importance)  but  the  specific 
illumination  falling  upon  any  definite 
area  could  be  measured  with  scientific 
accuracy.  This  would  be  of  great  im- 
portance in  modern  cinematography. 

These  measurements  are  required  an 
incalculable  number  of  times  in  every 
cinematographer's  daily  work.  Obvious- 
ly, they  are  of  the  highest  importance, 
for  they  determine  the  balance  of  a 
lighting  which,  in  turn,  is  the  founda- 


tion of  a  cinematographer's  individual- 
ity. 

Under  present  conditions  such  meas- 
urements are  and  must  be  made  visual- 
ly. Under  the  conditions  which  applied 
only  a  few  years  ago  this  was  quite 
safe,  for  any  cinematographer  worthy 
of  the  name  has  through  the  years 
trained  his  eyes  to  read  light  intensi- 
ties as  clearly  as  print. 

But  today  the  physical  and  nervous 
pressure  under  which  all  of  the  pro- 
duction staff — and  especially  the  cine- 
matographer— work,  introduces  an  ele- 
ment of  fatigue  which  can  and  does  at 
times  make  the  most  highly  trained 
visual  judgment  unreliable. 

Develop   Own  Field 

And  since  there  seems  no  possibility 
of  relieving  this  pressure  the  acquisition 
of  a  truly  scientific,  untiring  aid  for  the 
cinematographer's  judgment  is  the  only 
solution. 

It  must  be  recognized  that  the  sale 
of  such  specialized  meters  solely  to  pro- 


Hcre  are  three  principals  in  the  making  of  Paramount' s  smash  hit  "Cocoanut  Grove." 
At  the  left  is  Leo  Tovar,  A.S.C.,  director  of  photography.  Center  is  Harriet  Hilliard, 
leading  woman  of  the  musical,  taking  tempo7-ary  shelter  from  a  set  where  it  is  rain- 
ing cats  and  dogs.  Awaiting  a  call  again  to  face  the  man-made  rain  is  Fred  Mac- 
Murray,  the  star  of  the  great  show.     G.  E.  Richardson  photographed  the  still. 


228     American  Cinematographku    •    June,  1938 


fessional  cinematographers  does  not  of- 
fer the  manufacturer  a  field  for  volume 
sales,  even  if  the  members  of  our  pro- 
fession in  foreign  lands  be  considered 
as  further  potential  purchasers,  as  many 
of  them  surely  would  be. 

But  it  is  by  no  means  improbable 
that  such  a  device  could  and  would  be 
successfully  exploited  in  many  other  al- 
lied fields,  such  as  among  the  more  dis- 
cerning still  photographers,  the  con- 
stantly growing  group  of  advanced 
amateurs,  and  others. 

It  is  far  more  likely  that  this  would 
be  the  case  than  was  the  possibility  that 
our  present  meters,  when  first  intro- 
duced, would  attain  their  present  popu- 
larity. 

Finally,  it  can  be  said  with  assur- 
ance that  such  a  truly  professional  me- 
ter is  eventually  going  to  be  produced. 
Almost  every  time  two  or  more  mem- 
bers of  the  camera  profession  come  to- 
gether one  learns  of  another  individual 
who  is  either  trying  to  persuade  the 
present  manufacturers  to  build  him  a 
meter  more  suited  to  his  requirements 
or  who  is  planning  or  actually  building 
his  own  meter. 

While  it  is  probable  a  good  propor- 
tion of  these  individual  ideas  may  not 


be  commercially  or  technically  feasible, 
they  at  least  point  very  positively  to  an 
increasingly  widespread  demand  for  a 
photoelectric  light  meter  designed  and 
built  to  meet  the  requirements  of  pro- 
fessional studio  cinematography.  Such  a 
meter  would  quickly  become  as  indis- 


pensable as  are  today's  electric  camera 
motors.  Very  definitely,  the  camera  pro- 
fession would  welcome  such  a  meter. 

Sooner  or  later  such  an  instrument 
is  coming.    The  only  question  is: 

Who  is  going  to  build  it — and  how 
soon  will  he  do  so? 


Tower  Pictures  Make  First  Sound 
16mm.  Feature  Length  Product wn 


SOMETHING  new  in  the  realm  of 
16mm.  pictures  went  on  the  record 
in  Hollywood  during  May  when 
Tower  Pictures  produced  a  six-reel 
IGmm.  sound  motion  picture.  So  far  as 
seems  to  be  known  in  that  town  of  big 
pictures  it  was  the  first  16mm.  sound 
motion  picture  of  feature  length  to  be 
made  anywhere — especially  under  prac- 
tically professional  conditions.  So  far  as 
organized  crafts  are  concerned,  the  film 
is  practically  100  percent  on  the  same 
basis  as  prevails  in  studios. 

The  subject  is  "Pinocchio,"  Italian 
fairy  stoi-y,  the  screen  play  for  which 


Here  is  the  latest  Mitch-ell 
Studio  Model  Camera  built 
around  the  pi-evious  model 
and  having  its  own  housing 
to  eliminate  all  mechanical 
noise.  It  is  silent  and  can 
be  used  for  all  types  of 
sound  picture  work  vAthout 
any  further  covering. 

The  camera  has  retained 
many  of  the  well-known 
Mitchell  features,  but  has 
some  changes  in  that  it  elim- 
inates the  four  lens  turret 
and  substitutes  a  single  lens 
mount  of  the  bayonet  type 
and  includes  a  parallax  ad- 
justing finder  which  auto- 
matically focuses  ivith  the 
focusing  of  the  lens. 

This  finder  has  a  series  of 
cams  built  on  the  bottom  for 
the  various  lenses,  and  when 
the  proper  cam  is  put  into 
position  the  finder  automat- 
ically focuses  and  adjusts 
for  parallax  when  the  lens 
is  foaised. 

This  camera  also  has  a  four 
foot  fade-in  or  fade-out  as 
ivell  as  a  hand  shutter 
change.  The  adjusting  of 
these  features  as  well  as  the 
variable  magnification  and 
pan  and  blue  glass  in  the 
focus  tube  are  all  controlled 
from  the  outside  of  the  hous- 
ing. It  is  only  necessary  to 
open  the  door  of  the  camera 
for  threading  and  adjusting 
the  fottr-ivay  mattes  on  the 
base. 

This  is   believed  to   be  the 
ultimate    in    refinement  in 
silent  and  sound  camera 
manufacturing  technique. 


was  written  by  Endre  Bohem.  Jerry  S. 
Bresler  produced,  Leon  Barsha  directed 
and  Richard  Leitner,  one  of  the  prin- 
cipal creators  of  the  Gumbiner  16mm. 
sound  camera,  recorded  sound. 

The  equipment  being  used  is  that  of 
the  Gumbiner  Synchro-Sound  Company, 
which  for  a  long  time  has  occupied  offices 
and  experimental  quarters  in  Wilshire 
boulevard  in  Los  Angeles.  Tower  Pic- 
tures, production  company,  is  headed  by 
Phineas  Juster,  with  Louis  Gumbiner 
secretary-treasurer.  The  pictures  are 
designed  for  school,  church  and  also — 
somewhat  out  of  the  everyday  routine — 
for  home  consumption. 

The  company  plans  to  make  a  rather 
large  series  of  similar  pictures. 

T 

Research  Council  Submits 

Print  Protection  Report 

E.  H.  Hansen,  chairman  of  the  sound 
recording  committee  of  the  Research 
Council  of  the  Academy  of  Motion  Pic- 
ture Arts  and  Sciences,  has  distributed 
copies  of  a  report  prepared  by  his  com- 
mittee outlining  modifications  made  in 
projection  and  other  equipment  to  pre- 
vent rotating  parts  of  this  equipment 
from  scratching  release  prints. 

The  adoption  of  these  modifications  by 
the  studios  participating  in  the  council's 
cooperative  technical  program  is  expect- 
ed to  result  in  a  considerable  economy 
due  to  the  elimination  of  damage  from 
print  scratches. 

The  modifications  outlined  in  the  re- 
port were  originally  worked  out  by  sound 
engineers  of  Warner  Brothers  Studio 
sound  department  and  of  Twentieth  Cen- 
turv-Fox  Studio. 

T 

Agfa  Film  Packs  Numbered 

Arrangements  have  been  made  to 
mark  the  individual  films  of  all  Agfa 
filin  packs  with  consecutive  numbers 
from  one  to  twelve,  corresponding  to  the 
number  on  each  film  tab.  This  feature 
provides  an  added  convenience  for  film 
pack  users  as  it  provides  positive  yet 
simple  identification  of  every  film  pack 
negative. 

All  Agfa  Superpan  Press  film  packs 
carry  this  numbering.  Similarly  marked 
are  all  Agfa  Super  Plenachrome  film 
packs  with  an  expiration  date  of  April 
1939  or  later  and  all  Agfa  Superpan  film 
packs  with  an  expiration  date  of  Jan- 
uary 1939  or  later. 


June,  1938    •    American  Cinematographer  229 


Jackman  Develops  Color  Process 
and  JVill  Extend  Plant  to  Handle 


WITH  natural  color  cinematog- 
raphy  the  topic  of  the  hour,  the 
announcement  of  any  new  color 
process  takes  on  front-rank  importance. 
When  it  is  added  the  process  is  one  de- 
veloped by  Fred  W.  Jackman,  A.S.C., 
long  recognized  as  the  dean  of  the  indus- 
try's special-effects  cinematographers, 
the  news  assumes  added  significance. 

As  this  issue  of  the  American  Cinema- 
tographer goes  to  press,  Jackman  an- 
nounces that  his  organization,  the  Jack- 
man  Process  Company,  in  addition  to 
its  well  known  activities  as  a  leading 
independent  special-effects  studio,  is  ex- 
panding into  the  field  of  natural  color 
processing.  A  laboratory-addition  to  the 
existing  plant  is  to  be  built,  equipped 
for  an  initial  capacity  of  500,000  feet 
of  natural-color  film  weekly. 

Jackman's  process  is  at  present  a  two- 
color  process,  aimed  to  serve  the  impor- 
tant field  of  industrial  films  and  low 
cost  major  and  independent  features.  Its 
outstanding  characteristics  are  simplicity 
in  every  phase  of  photography  and  pro- 
cessing, exceptional  definition  and  econ- 
omy. While  similar  in  principle  to  several 
existing  processes,  it  is  understood  to  be 
definitely  different  from  any  in  the 
methods  whereby  it  is  produced. 

The  results  on  the  screen  are  definitely 
superior  to  those  produced  by  any  two- 
color  process  this  writer  has  yet  seen. 
The  range  of  colors  which  can  be  repro- 
duced is  excellent,  while  the  effect  on  the 
screen  is  unusually  pleasing  and  natural 
for  a  process  bound  by  the  inevitable 
limitations  of  any  two-tone  method. 
Surprising  Definition 
Truly  surprising  is  the  definition  at- 
tained in  both  close-ups  and  long-shots. 
This  surpasses  the  clarity  visible  in  any 
commercially  known  color  process. 

The  process  itself  is  based  on  the 
familiar  bipack  method  of  making  the 
necessary  color  separation  negatives. 
Any  standard  black-and-white  camera 
can  be  used;  the  tests  thus  far  made 
all  have  been  photographed  with  a  stand- 
ard Mitchell  camera,  to  which  only  the 
routine  adjustments  of  lessening  aper- 
ture-plate tension  and  checking  pilot  pins 
had  been  made.  Excellent  results  have 
been  obtained  even  in  slow-motion  scenes 
filmed  at  high  camera  speeds. 

Lighting  in  this  process  may  be  se- 
cured with  either  arc  or  incandescent 
equipment;  the  majority  of  the  test 
scenes  thus  far  made  have  employed  a 
mixture  of  the  two. 

The  key  to  the  improvement  in  the 
Jackman  bipack  results  is  found  in  the 
laboratory  treatment  of  negative  and 
print.  The  negative  is  developed  in  the 
specially  modified  Davidge  "roto-tank" 
developing  machines  regularly  used  for 


Jackman's  black-and-white  special- 
effects  processing. 

These,  as  is  well  known,  wind  the  film 
on  a  reel,  sandwiched  between  spirals 
of  a  separating  apron  similar  to  those 
used  in  many  miniature-camera  develop- 
ing equipments.  During  development,  the 


Fred  W.  Jackman,  A.S.C. 

Photo  by  Scatty  Welboitme. 


reel  is  wholly  immersed  in  the  solution, 
and  oscillated,  thereby  providing  a 
unique  turbulation. 

Fine  Grain  Quality 

In  conventional  black-and-white  nega- 
tive processing  this  method,  which  in 
Jackman's  laboratory  is  directly  super- 
vised by  Roy  Davidge,  has  completely 
eliminated  directional  markings  on  the 
negative  image,  and  produces  effects 
of  fine-grain  quality,  definition  and 
shadow  detail  which  are  truly  surprising. 

In  Jackman's  present  work  in  color 
these  advantages  are  further  emphasized. 
Traditionally  a  limiting  factor  in  bipack 
has  been  the  definition  obtainable  on  the 
rear  element  of  the  bipack  negative, 
which  produces  the  blue  printer  image. 
Due  to  its  position  in  the  camera,  behind 
the  front  or  red-ortho  negative,  it  has 
generally  been  considered  impossible  to 
make  this  satisfactorily  sharp,  while  of 
course  the  strong  blue  image  plays  the 
major  part  in  determining  print  defini- 
tion. The  increased  resolving  power  of 
negatives  developed  by  this  method  in 
the  Jackman  laboratory  would  appear 
inevitably  to  yield  a  blue  printing  nega- 
tive of  considerably  improved  definition. 

Printing  is  done  on  standard  "dupli- 


tized"  (double-coated)  positive  film.  For 
this  a  special  printer,  designed  by  Jack- 
man,  is  used.  While  it  is  not  possible 
to  reveal  the  details  of  this  service,  it 
can  be  stated  it  embodies  the  results  of 
Jackman's  nearly  three  decades  of  study 
of  registration  problems  and  is  unlike 
any  existing  color  printers. 

The  printed  film  is  developed  in  a  spe- 
cial developing  machine  designed  and 
built  in  the  Jackman  plant.  This  machine 
makes  unusual  provision  for  thorough 
agitation  and  turbulation,  and  has  an 
unusually  powerful  solution  circulating 
system. 

The  final  step  in  the  processing  is  in 
a  special  coloring  machine,  likewise  de- 
signed and  built  by  the  Jackman  staff. 

Expert  on  Registration 

Speaking  of  his  new  venture,  Jackman 
.said:  "I  approached  color  with  only  one 
preconceived  idea  in  mind.  This  was  that 
many  of  the  greatest  troubles  in  exist- 
ing color  processes  lay  in  the  problem 
of  securing  genuinely  accurate  registra- 
tion in  printing. 

"And  after  having  spent  close  to  thirty 
years  in  special-effects  cinematography, 
where  microscopically  perfect  i-egistra- 
tion  is  so  often  the  key  to  success,  I  con- 
sidered I  might  know  something  about 
registration  which  could  be  applied  to 
color. 

"This  was  brought  home  very  force- 
fully some  months  ago  when  my  staff 
made  some  bipack  color  tests  for  a  lead- 
ing producer.  The  negative  was  de- 
veloped in  our  own  plant,  but  the  prints, 
though  made  by  various  renowned  bi- 
pack specialists,  did  not  appear  to  yield 
anywhere  near  the  definition  of  which 
the  negatives  appeared  capable. 

"More  recently,  a  lull  in  studio  pro- 
duction gave  me  an  opportunity  to  study 
the  problem  concretely.  Applying  the 
knowledge  and  methods  gained  from 
many  years  of  special-process  work,  we 
have  produced  the  results  you  have  seen. 

"Their  foundation  is  three  decades' 
experience  in  coping  with  problems  of 
exact  registration,  though  in  this  case 
we  have  spent  less  than  two  months  in 
practical  experimentation.  The  results 
prove  that  the  same  methods  which  give 
really  good  registration  in  monochrome 
trick  camerawork  yield  outstanding  re- 
sults when  applied  to  color. 

"Furthermore,  we  have  simplified 
things  to  the  point  where  they  can  be 
applied  with  uniform  accuracy  to  routine 
production.  The  raw  stock  products  used 
are  standard,  and  no  special,  expense 
producing  manipulations  are  needed. 

"Therefore  we  are  entering  the  field 
of  natural  color  processing.  We  believe 
there  is  room  for  a  really  good  two-color 
process." 


230     American  Cinematographkk    •    June,  1938 


Long  Record  and  More  Honor  for 
Tony  Gaudio  on  His  Screen  IV irk 

While  Veteran  Cameraman  Is  Completing-  His  Picture 
No.  1000  He  Gets  Word  of  Award  for  April-May 
from  the  Hollywood  Correspondents  on  His 
Collaboration  on  Warners'  Robin  Hood 


LEARNING  how  to  coat  plates  and 
paper  at  the  age  of  eight  years 
'  in  the  studios  of  his  illustrious 
brother,  Rafael  Gaudio,  Knight  of  the 
Crown  of  Italy,  was  the  beginning  of  the 
photographic-  career  of  Tony  Gaudio, 
first  A.  S.  C.  president,  which  climaxes 
now  in  his  direction  of  cinematography 
on  his  1000th  motion  picture,  "Garden 
of  the  Moon"  at  Warner  Brothers. 

During  the  past  month,  too,  Tony, 
who  holds  the  cinematography  award  of 
the  Academy  of  Motion  Picture  Arts  and 
Sciences  for  his  masterly  work  on  "An- 
thony Adverse"  in  1936,  was  notified  that 
the  Hollywood  press  had  honored  him 
and  Sol  Polito,  A.  S.  C,  for  their  out- 
standing photography  on  "The  Adven- 
tures of  Robin  Hood." 

For  all  the  honors  that  have  come  to 
him  during  the  thirty-four  years  since 
he  filmed  a  500-foot  feature  called 
"Napoleon  Crossing  the  Alps"  as  his  first 
motion  picture  venture  in  Italy,  the  coun- 
try of  his  bii'th,  Tony  remains  the  mod- 
est man  whose  art  as  a  cinematographer 
supersedes  everything  else. 

Although  he  is  the  oldest  cinematog- 
rapher on  features  in  the  world,  Tony  is 
still  learning  and  studying.  His  "home 
work"  is  done  in  color,  black  and  white, 
lighting,  make-up.  He  uses  plaster  busts 
to  study  the  lighting  of  which  he  is  an 
acknowledged  master.  Motion  picture 
and  still  cameras  aid  him  in  his  color 
experiments.  Like  all  artists,  Tony 
never  has  been  satisfied  to  stop  at  the 
first  high  point  of  achievement  but  has 
extended  himself  to  surpass  past  records. 

Shooting  on  the  set  of  his  one  thou- 
sandth picture,  Tony  reminisced  about 
the  old  days  and  found  them  good  for 
sentimental  if  not  artistic  reasons.  It 
is  his  belief  cinematography  has  become 
something  almost  entirely  new  since  his 
debut  days  behind  a  camera,  exceeding 
by  far  the  great  promise  of  its  begin- 
nings. 

Tony  feels  that  today's  cameramen  are 
virtually  a  new  race  of  artists,  deserving 
of  great  honor.  He  feels  also  that  the 
predecessors  of  the  present  generation 
are  as  deserving  of  honor  for  their  pio- 
neering work. 

The  Gaudio  career,  begun  in  his  late 
brother's  studios,  includes  a  period  of 


By  ALEX  EVELOVE 

study  at  art  school  in  Rome,  to  which  his 
family  moved  from  Cosenza  when  Gae- 
tano,  now  and  affectionately  known  as 
Tony,  was  all  of  two  months  old.  Tony 
is  pleased  to  think  that  his  youthful  pur- 
suit of  art  via  paints  and  brush  is  still 
represented  by  works  hung  in  the  Italian 
version  of  the  red  schoolhouse. 

He  is  indebted  to  his  art  training, 
moreover,  for  his  later  interest  in  the 
camera  as  a  medium  of  art,  rather  than 
as  a  mere  recording  instrument. 


Tony  Gaudio 

Photo  by  Scotty  Welboume 


When  he  was  nineteen  and  filming 
"Napoleon  Crossing  the  Alps"  Tony 
looked  forward  to  a  career  in  America, 
seat  of  the  cinema's  greatest  develop- 
ments. About  three  years  later  he 
jumped  the  pond  and  started  working 
in  and  around  New  York.  During  his 
first  American  motion  picture  period 
Tony  kept  up  his  quantity  record. 

Instead  of  photographing  two  or  three 
features  a  week,  as  he  had  done  in  Italy, 
however,     he     did     only     one.  Carl 


Laemmle's  Imp  company  enjoyed  the 
services  of  their  imported  cinematog- 
rapher on  as  many  as  fifty  features  a 
year. 

Pioneered    Under  Water 

In  1910  Tony  filmed  the  first  sub- 
marine picture,  one  called  "Submarine" 
and  the  forerunner  of  many  later  pic- 
tures of  the  type.  He  went  down  in  a 
submarine  at  Newport  News  for  most  of 
the  picture  and  then  finished  it  on  sets 
built  in  New  York.  A  little  later  he 
became  Mary  Pickford's  cameraman  as 
well  as  author.  He  wrote  for  America's 
Sweetheart  a  little  something  called 
"For  the  Queen's  Honor." 

His  scenario  writing  for  Miss  Pick- 
ford  was  not  a  novelty  to  Tony.  He  had 
written  and  directed  many  of  the  films  he 
had  photographed  before  then,  but  had 
given  up  his  sideline  jobs  to  concentrate 
on  the  camera. 

One  reason  that  influenced  him  to  do 
only  one  job  was  that  he  was  paid  for 
only  one,  in  spite  of  his  others.  For  the 
Pickford  picture,  however,  he  received 
the  magnificent  sum  of  $75,  a  figure  to 
amuse  pi-esent  day  scenarists. 

Hollywood,  which  began  to  loom  on 
the  screen  horizon  as  a  center  of  pro- 
duction, finally  lured  the  young  Tony, 
already  a  veteran  with  European  and 
Amei-ican  experience. 

In  Hollywood  ever  since,  he  has  photo- 
graphed, in  the  course  of  his  thousand 
pictures,  practically  all  of  the  film  col- 
ony's greatest  and  most  glamorous  per- 
sonalities. For  four  and  a  half  years 
he  was  Norma  Talmadge's  exclusive 
cameraman.  He  photographed  her  only 
and  she  refused  to  lend  him  to  other 
stars. 

Later  on  he  photographed  Greta  Gus- 
tafsson  in  her  first  American  motion  pic- 
ture. Miss  Gustafsson  is  now  known 
almost  universally  as  Garbo.  It  was 
while  working  on  her  second  picture  here 
that  Tony  lost  the  little  finger  of  his  left 
hand  when  he  fell  on  the  set. 

He  is  unable  to  recall  many  of  the 
thousands  literally  who  have  passed  be- 
fore his  lens.  He  can  remember  only  a 
small  number  of  the  thousand  titles  of 
films  he  has  photographed.  Naturally, 
he  remembers  his  latest  in  Hollywood, 
"Garden  of  the  Moon"  and  his  first  in 


June,  1938    •    American  Cinematographer  231 


America,  which  was  "Madame  Nico- 
tine." 

In  between  and  more  lately  there  have 
been  such  pictures  as  "The  Life  of  Emile 
Zola,"  "The  Story  of  Louis  Pasteur," 
"Green  Pastures,"  "The  Amazing  Dr. 
Clitterhouse,"  "The  Adventures  of  Robin 
Hood"  on  the  list  of  titles.  When  he 
finishes  "Garden  of  the  Moon"  Warner 
Brothers  will  put  him  on  another  "spe- 
cial," the  much-discussed  "The  Sisters." 

Tony,  at  work  in  his  arm-chair  and 
green  eye-shade  on  the  set,  thinks  of  the 
days  when  a  cinematographer  had  to  be 
his  own  still  man,  too,  jumping  from  be- 
hind one  camera  to  hide  his  head  under 


a  focussing  cloth  while  he  made  a  still 
record  of  the  same  scene  he  had  just  re- 
corded in  action  a  minute  before. 

The  mechanical  advances  in  cinema- 
tography remind  him  today  of  yester- 
day's primitive  methods — when  the  cam- 
era was  a  "stay  put"  and  the  sets  re- 
volved ai'ound  it  on  a  chalked  off  focus 
line. 

Tony  remembers  the  various  cycles  of 
cinematography  and  is  pleased  that 
Hollywood  has  advanced  beyond  them  to 
a  sounder  method.  There  was  what  he 
called  the  "gauze-and-burlap"  pei-iod,  or 
extreme  diffusion  era.  Then  there  was 
the    extreme    sharpness    decade  when 


IVarners'  ''Rohin  Hood' Awarded 
Photographic  Honors  for  Month 


FOR  the  second  consecutive  month 
Warner  Brothers  with  "Robin 
Hood"  won  the  nod  from  the  Holly- 
wood correspondents  for  April-May.  And 
with  the  major  award,  meaning  the 
honors  for  the  production  as  a  whole, 
went  that  for  photographic  effort.  The 
credits  on  the  camera  end  were  for  three 
A.S.C.  men,  Tony  Gaudio  and  Sol  Polito, 
for  Warners,  and  W.  Howard  (Duke) 
Greene  for  Technicolor.  Al  M.  Greene 
was  operative  cameraman  and  George 
Dye  was  assistant. 

The  bracketing  of  the  names  was  due 
to  the  shifting  of  crews  after  two  thirds 
of  the  production  had  been  completed. 
If  Polito,  however,  did  not  rate  first 
place  in  the  credits  one  thing  was 
certain:  When  he  turned  in  "Gold  Is 
Where  You  Find  It"  as  his  prior  picture 
he  had  contributed  something  to  hold 
'em  for  a  while.  That  was  a  stunning 
piece  of  work  and  in  the  later  history 
of  the  advancement  of  motion  picture 
color  and  photography  surely  so  will  be 
recognized. 

Polito  was  born  in  Italy  and  came  to 
Brooklyn  when  he  was  thirteen  years 
old.  As  a  school  lad  he  was  assistant  to 
a  projectionist  and  soon  was  on  his  own. 
Then  he  was  an  assistant  cameraman  to 
Tony  Gaudio,  and  at  the  age  of  twenty- 
two  years  again  was  on  his  own  as  a 
full-fledged  cameraman. 

His  first  work  was  with  Julius  Stern, 
for  Carl  Laemmle's  Imp  company.  Then 
he  went  to  Biograph,  photographing  for 
Director  Ti-avers  Vail,  in  which  work  he 
found  his  time  divided  equally  between 
New  York  and  California.  It  was  the 
custom  of  the  Biograph  for  several  years 
to  alternate  East  and  West  every  six 
months  period. 

It  was  in  1920  the  cameraman  went 
to  First  National  for  a  picture  with 
Jack  Pickford.  Later  he  worked  with 
Metro.  He  shot  two  versions  of  "The 
Girl  of  the  Golden  West"— but  they 
were  thirteen  years  apart.  Holbrook 
Blinn  faced  his  camera  in  his  famous 
character  of  "The   Bad  Man." 

He  has  been  with  First  National  and 
Warner  Brothers  for  a  long  time.  Of 


musicals  he  has  photographed  many. 
Besides  his  "Gold"  two  of  his  more  re- 
cent subjects  are  "Charge  of  the  Light 
Brigade"  and  "The  Prince  and  the 
Pauper." 


everything  had  an  edge  like  a  knife  on  it. 

Sound,  with  its  new  requirements, 
brought  a  saner  approach  to  motion  pic- 
ture photography,  in  Tony's  opinion. 
For  himself,  he  believes  that  camera 
work  should  be  like  that  of  the  portrait 
artist,  reality  and  character  with  only 
so  much  retouching  (with  light  in  the 
case  of  film  camera  work)  as  is  neces- 
sary to  smooth  out  the  rougher  spots. 

Realism  and  character  must  be  pre- 
served at  all  costs,  says  Tony. 

His  artistic  accomplishments  are  not 
his  only  ones.  Shortly  after  he  came  to 
America  he  supervised  the  construction 
of  Laemmle's  first  film  laboratory,  a  job 
that  served  as  a  model  for  many  years 
to  come. 

In  1922  he  invented  the  finder  now  in 
use  on  Mitchell  cameras.  He  is  able, 
much  to  the  delight  of  the  producer 
whose  money  he  is  spending,  to  photo- 
graph swiftly,  efficiently  and  artistically. 

Tony  has  brought  honor  to  himself 
in  the  course  of  acquiring  honors  for  his 
profession.  He  is  modest,  but  deserved- 
ly proud  of  his  numerous  achievements 
and  the  unique  record  book  in  which  he 
has  written  "one  thousandth  picture." 


Scewe  from  "The  Adventures  of  Robin  Hood,"  Warner  Brothers.  At  left  is  Sol 
Polito,  A.S.C,  with  Michel  Curtiz,  director,  next.  Al  M.  Greene,  at  extreme  right, 
is  operative  cameraman,  while  George  Dye,  assi<itant,  is  in  front  of  him.  W.  Howard 
Greene,  A.S.C,  Technicolor  specialist,  is  not  within  the  field  of  the  still  camera  of 
Mac  .Julian.  The  camera  inside  the  blimp  is  a  Technicolor. 


232     American  Cinematographer    •    June,  1938 


THE  screen  achievements  for  April 
as  listed  in  the  Hollywood  Re- 
porter gives  first  place  to  The 
Adventures  of  Robin  Hood,  and  the  first 
photographic  award  to  the  photogra- 
phers of  the  above  picture  Tony  Gaudio 
and  Sol  Polito.  Ray  June  took  second 
honors  with  M.G.M.'s  "Test  Pilot"  and 
William  C.  Mellor  was  third  with 
Paramount's  "Heaven."  The  twelve  top 
critics  failed  to  mention  Duke  Greene's 
efforts  in  behalf  of  the  technicolor 
achievement  ....  Well,  I  always  say, 
that  if  it  wasn't  for  photography  the 
boys  and  girls  who  make  their  living 
reviewing  pictures  would  have  to  go  back 
to,  well,  just  go  back  and  start  again 
.  .  .  .  Charles  Lang  adds  a  new  "gadget" 
to  his  equipment  over  at  Paramount. 
Nothing  less  than  a  2000  pound,  stream- 
lined camera  boom.  It  was  built  by  that 
studio  and  used  for  the  first  time  on  Mr. 
Lang's  picture  "The  Spawn  of  the 
North"  .  .  .  There  is  something  fascinat- 
ing about  a  lens  or  maybe  a  camera.  I 
found  Paul  Ivano  contemplating  a  new 
piece  of  equipment  over  at  Morgan's 
Camera  Shop  ....  Dan  Clark  folds  up 
his  desk  out  at  Twentieth  and  leaves  for 
Canada  again  to  photograph  the  Quin- 
tuplets ....  From  Paris,  France:  The 
largest  French  trade  paper.  La  Cinema- 
tographie,  conducted  a  poll  of  over  five 
hundred  theatres  which  resulted  in  Ca- 
mille  (M.G.M.)  being  selected  as  the  best 
picture  of  the  year.  Karl  Freund  and 
William  Daniels  photographed  .  .  .  . 
Tragedy  unmolested:  An  unemployed 
cameraman  met  another  unemployed 
cameraman : 

First  Man — Well,  how's  the  picture 
business  ? 

Second  Man — Still  in  Hollywood,  I 
think. 

L.  W.  O'Connell  and  Mrs.  returned 
from  an  extended  auto  tour  of  the  north- 
ern U.  S.  and  Canada  (Niagara  Falls — 
They  finally  got  there).  Lou  says  that 
there  is  a  lot  of  land  in  this  country 
and  a  lot  of  real  people,  too.  Like  the 
proverbial  postman  who  goes  out  for  a 
walk,  Lou  kodachromed  the  whole  trip 
.  .  .  .  Commodore  Johnny  Mescall, 
owner  and  chauffeur  of  the  motor  vessel 
Penguin,  is  the  recipient  of  a  set  of 
marine  danger  signals  from  his  director, 
Roy  Del  Ruth  (and  a  book  of  instruc- 
tions, too).  He  also  is  looking  for  a 
sponsor  for  his  radio  program — if  he 
passes  the  examinations  for  his  radio 
license  ....  Charles  Clark  joins  the 
payroll  at  Twentieth.  He  is  doing  the 
desert  scenes  for  "Suez"  ....  There  are 
954  miles  of  positive  film  in  some  485 
prints  of  "Test  Pilot"  (MGM)  doing  the 
rounds  of  the  exchanges  ....  John 
Arnold  has  been  dubbed  "the  profes- 
sional turned  amateur"  by  the  Bell- 
Howell  advertising  staff  {Life  maga- 
zine), and  if  you  don't  believe  he  is  a 
success  ask  him  to  show  you  some  of 
his  16mm  color  stuff  ....  Well,  the  20th- 
Century-Fox  golf  tournament  got  off  to 
a  bright  4  a.m.  start  and  the  last  op- 
ponent of  par  left  the  tee  at  3:30  p.m. 
Sprinkled  among  the  list  of  368  players 
were  the  names  of  lens  notables.  John 


WHAT 
ABOUT 
ME.? 

By 

BEE  GEE 


Mescall  won  first  place  with  a  73;  Pev 
Marley  clipped  an  89;  Virg  Miller  with 
five  strokes  more;  Dan  Clark  returned 
with  105;  LuciEN  Andriot  was  satisfied 
with  112;  Harry  Davis  came  in  with 
118  (and  a  few  sighs),  and  Henry 
Cronjager  beat  the  poor  ball  121  times 
.  .  .  .  Gregg  Toland  returned  from  a 
vacation  in  Mexico.  Will  do  "Graustark" 
for  Goldwyn  ....  James  Wong  Howe  is 
using  a  monorail  to  carry  him  and  his 
camera  thru  the  crooked  and  many- 
leveled  street  set  over  at  Wanger's  .... 
George  Schneiderman  joins  the  photo- 
graphic staff  at  Universal  ....  Edwin 
Hammeras  trying  to  solve  process  prob- 
lems on  "Suez"  out  at  20th  ....  A  letter 
from  John  Alton,  who  recently  signed 
a  year's  contract  with  Argentina  Sona 
Film  Company,  South  America,  telling 
us  of  his  arrival  in  Buenos  Aires  and 
being  put  right  to  work.  I  know  he's 
glad  to  be  home  again  because  there  is 
something  about  the  atmosphere  of  that 
country  that  gets  under  one's  skin  .  .  .  . 
I  hope  Paul  Perry  doesn't  go  native. 
He's  down  there,  too  ....  Josef  Von 
Sternberg  is  back  from  his  trip  abroad. 


On  the  Opposite  Page 

will  be  found  a  few  of  those  who  attended 
the  A.  S.C.  get-together  at  its  clubhouse  on 
the  evening  of  May  21.  1 — William  Stull, 
A.  S.  C.  (left I.  Willard  Van  Der  Veer.  A.  S.  C., 
co-photographer  of  Byrd's  first  Little  America 
expedition.  George  Gibson.  Pete  Shamray, 
John  Arnold,  A.  S.  C.  ex-prexy,  and  Roy 
Hunter.  2 — Miss  Yola  Galli,  whose  singing 
voice  is  as  sweet  as  her  personality.  3 — Joseph 
Valentine.  A.  S.  C,  emcee,  host  and  chef  of 
the  spaghettifest  —  "the  boy  is  there."  -1— 
Arthur  Treacher,  sterling  actor  and  royal  good 
fellow.  5 — Pepper  Kids,  clever  song  and  dance 
artists.  6 — Love  Jean  Webber,  song  and  dance. 
7 — Charles  Previn,  musical  director  at  Uni- 
versal, and  Miss  Helen  Greco,  to  be  starred  in 
"Little  Lady."  8 — Larry  Blake,  under  contract 
to  U.  9 — Harold  Adamson  (left I,  Jimmy  Mc- 
Hugh,  John  DeSylva,  who  gave  of  their  best 
in  aiding  the  emcee  (at  right  I  and  in  enter- 
taining, too.  10 — Sarah  Berner,  who  most  en- 
tertainingly imitated  some  of  the  screen's  fa- 
mous women. 

The  photographer  7 — Bert  Glennon.  The  fin- 
isher was  Pat  Clark.  The  latter  captured  and 
preserved  for  us  the  work  of  the  former. 


Ray  Rennehan  to  do  Campus  Cin- 
derella, a  Technicolor  short,  for  Warners 
.  .  .  .  Arthur  Miller  does  John  Ford's 
next  pix  for  20th.  His  little  star,  Shir- 
ley Temple,  will  vacation.  She  is  going 
to  try  to  see  America  without  being 
seen  ....  If  Paramount  doesn't  assign 
Leo  Tover  pretty  soon  he  will  probably 
be  arrested  for  vagrancy  ....  Dev  Jen- 
nings doing  an  interesting  matte  shot 
over  at  Paramount  ....  Duke  Greene 
patiently  waiting  for  the  California  sun 
to  uphold  its  reputation  .so  he  can  do 
some  delayed  exteriors  ....  Gordon 
Jennings  threatens  to  visit  the  club- 
house ....  Allen  Davey  and  Sol  Polito 
away  at  Eureka  on  location  on  Valley  of 
the  Giants,  another  color  picture  for 
Warners  ....  About  three  years  ago 
Eddie  Blackburn  gave  me  a  small  roll 
of  Super  X  for  experimental  purposes. 
I  exposed  the  whole  roll  at  once.  Since 
that  time  short  ends  developed,  (as  in- 
structed by  the  manufacturer),  every 
three  months  has  proved  the  film's  keep- 
ing qualities.  Believe  it  or  not,  the  tests 
look  like  they  were  processed  at  the  same 
time  ....  The  candid  shots  taken  at  our 
last  stagg  gathering  and  displayed  on 
page  —  were  made  with  a  4x5  Graffic 
equipped  with  a  Zeiss  lens,  Kelart  Range 
Finder  and  Jacobson  synchronizer.  The 
film  was  Agfa  superpan  press  and  the 
illumination  was  furnished  by  the  Wa- 
bash Super  Flash  bulb  called  the  "Press." 
This  bulb  is  a  new  achievement  from  the 
Wabash  laboratories  and  is  to  be  re- 
leased to  the  trade  very  shortly  .  .  .  . 
Frank  Good  is  busy  painting  the  roof 
of  his  home.  When  asked  why  he  used 
white  he  said  it  was  an  easy  color  to 
remove  from  his  clothes  ....  Bob  Pit- 
tack  doing  a  Bob  Benchley  short  at 
MGM  ....  Peverell  Marley  kicking  up 
the  divots  at  Lakeside  with  Tyrone 
Power  ....  Sid  Hickox  starts  on  a  Kay 
Francis  assignment  called  Unlawful  for 
Warners  ....  Benjamin  Kline  and 
Henry  Freulich  get  started  on  new  as- 
signments at  Colunibia  ....  Stanley 
Cortez  doing  another  mellerdrama  for 
Universal  ....  and  I'm  doing  well,  thank 
you. 

QUOTE  AND  UNQUOTE 

jrom  the  press 

Vivacious  Lady,  R.K.O. — "Robert  De- 
Grasse  handles  an  impressive  camera," 
and  "Robert  DeGrasse's  photography  is 
of  the  best." 

Kentucky  Moonshine,  20th — "Cinema- 
tography of  Robert  Planck  realized  all 
the  value  of  the  theme." 

Forbidden  Valley,  Universal — "Pho- 
tography by  Elwood  Bredell  catches  the 
scenic  values  of  the  production  for  their 
full  value." 

Torchy  Blane  in  Panama,  Warners — 
"Tony  Gaudio's  photography  is  stand- 
ard" (Variety),  and  the  review  of  the 
same  picture  in  the  Reporter  says  "War- 
ren Lynch  provided  excellent  camera 
work."  Now  I'll  guess. 

Extortioyi,  C o  1  um b i a — "Photography 
by  Benjamin  Kline  is  okay." 

(Continued  on  Page  236) 


234     American  Cinematographek    •    June,  1938 


Mate  Blends  Arcs  And  Inkies 
To  Light  ''Marco  Polo  "  Stages 


ONE  of  the  outstanding  develop- 
ments of  the  past  year  has  been 
the  rediscovery  of  the  arc  inso- 
far as  monochrome  cinematography  is 
concerned.  Where  a  scant  few  months 
ago  the  sight  of  a  "hard  lighting"  unit 
on  a  set  gave  indisputable  evidence  of 
some  unusual  effect  lighting,  today  arcs 
and  inkies  are  working  more  and  more 
often  in  partnership  illuminating  rou- 
tine scenes. 

A  notable  example  of  this  is  the  re- 
cent Samuel  Goldwyn  production,  "The 
Adventures  of  Marco  Polo,"  photograph- 
ically directed  by  Rudy  Mate,  A.S.C., 
and  "  Archie  J.  Stout,  A.S.C.  The  set 
lightings  in  this  production  were  more 
than  ordinarily  noteworthy  for  their 
pictorial  and  dramatic  value.  Investiga- 
tion proves  that  they  are  the  result  of 
intermingled  arc  and  incandescent  illu- 
mination. 

It  is  a  very  far  cry,  however,  from 
the  "mixed"  lighting  of  a  few  years 
ago,  when  on  the  screen  an  arc  figura- 
tively shouted  its  presence  on  the  set. 
Today,  a  new  technique  is  developing 
in  which  each  light  source  has  its  in- 
dividual place,  and  the  result  is  a  har- 
monious and  pleasing  effect. 

Arcs  Were  Required 

According  to  Cinematographer  Mate, 
the  use  of  arcs  in  "Marco  Polo"  arose 
from  very  definite  artistic  and  dra- 
matic requirements  of  the  production. 
"The  story,"  he  says,  "divides  itself 
into  several  distinctly  marked  photo- 
dramatic  moods.  The  introductory  se- 
quences, in  Marco  Polo's  home  city  of 


By  WILLIAM  STULL,  A.S.C. 

Venice,  is,  despite  its  pictorial,  period 
setting,  a  glimpse  of  the  everyday  back- 
ground from  which  Polo  and  his  com- 
panion traveled. 

"As  such,  it  should  give  a  more  or 
less  conventional  impression  to  the  audi- 
ence. Of  course,  commonplace  cinema- 
tography and  lighting  would  be  utterly 
out  of  place  in  such  a  production,  but 
a  conservative  familiar  technique  is  dis- 
tinctly indicated. 

"Therefore,  we  lit  these  scenes  in  a 
fundamentally  conservative  manner,  pre- 
senting them  in  a  way  to  which  audi- 
ences are  subconsciously  accustomed. 
With  scarcely  an  exception,  the  lighting 
tools  used  for  these  scenes  were  the 
familiar  incandescent  units. 

"When  Polo  finally  reached  China 
there  is  an  abrupt  change  of  mood. 
China  today  is  a  strange  and  wonderful 
place  to  most  of  us,  and  certainly  the 
China  of  half  a  millennium  ago  must 
have  seemed  yet  stranger  to  the  first 
European  to  visit  its  scenes.  Further, 
China  was  then  the  seat  of  a  highly 
developed  and  incidentally  very  artistic 
civilization,  while  Europe  was  just 
emerging  into  the  renaissance. 

"Dramatically,  therefore,  it  was  our 
duty  to  present  these  sequences  with 
at  least  a  suggestion  of  strange,  other- 
worldly beauty.  Any  cinematographer 
will  appreciate  how  greatly  this  impres- 
sion can  be  conveyed  in  lighting. 
Lighting  Potent  in  Mood 

"The  latter  parts  of  the  picture,  laid 
in  the  bandit's  camp  and  in  the  battles 
in   Peking,  emphasized  ruggedness  and 


conflict.  Again  lighting  plays  a  potent 
part  in  conveying  this  mood." 

The  result  was  that  Mate  determined 
to  utilize  the  full  range  of  modern 
lighting  instruments.  It  is  probable  that 
no  film  made  since  the  very  early  days 
of  panchromatic  film  and  sound  utilized 
so  greatly  a  variety  of  both  "hard"  and 
"soft"  light  at  the  same  time. 

"Especially  in  the  Chinese  scenes," 
Mate  continues,  "arc  lighting  played  a 
tremendously  important  part  in  creat- 
ing photographic  moods.  Art  Director 
Richard  Day's  sets  were  in  themselves 
objects  of  unusual  beauty.  Designed 
with  large  expanses  of  white  wall  area, 
amply  varied  by  angles,  recesses,  lattice 
work  and  the  like,  they  immediately 
suggested  boundless  possibilities  for 
photogenic  decoration  with  cast  shadow- 
patterns. 

"But  because  of  the  relatively  large 
area  of  the  incandescent  globe's  light 
source  one  cannot  cast  sharply  defined 
shadow  patterns  with  an  inkie — espe- 
cially on  large  sets,  and  where  the 
lamp  must  be  at  some  distance  from 
both  the  shadow  casting  object  and  the 
area  upon  which  the  shadow  is  to  be 
cast. 

The  Arcs  of  Old 
"The  arc,  on  the  other  hand,  is  ideal 
for  this  purpose.  It  provides  the  clos- 
est approach  to  a  true  point  source  of 
light  yet  achieved.  Its  beams  have  great 
penetrative  or  carrying  power,  a  decided 
advantage  in  large  sets." 

Mate  digressed  momentarily  to  con- 
( Continued  on  Page  238) 


Scene  from  Samuel  GoUlwj/n's  "The  Adventures  of  Marco  Polo,"  photographed  by  Kiidij  Mate,  A.S.C,  and  ArcJiie  -J.  Stout, 

A.S.C.  Photo  by  Coburn. 


June,  1938    •    American  Cinematographer  235 

Brings  Three 
INDISPEXSABLES 


THREE  iiidispensables  of  the  modern 
motion  picture  negative  film :  speed  . . .  fine 
grain  . . .  photographic  quality.  Eastman 
Super  X  brings  these  essentials  to  the  in- 
dustry in  abundance,  with  special  emphasis 
on  the  most  vital  of  them  all  .  .  .  photo- 
graphic quality.  Eastman  Kodak  Company, 
Rochester,  N.  Y.  (J.  E.  Brulatour,  Inc.,  Dis- 
tributors, Fort  Lee,  Chicago,  Hollywood.) 


EASTMAN  SUPER  X 

PANCHROMATIC  NEGATIVE 


236     American  Cinematographer    •    June,  1938 


THEBERnDT-mnURERcoRP 

1 17  EAST  24lh  STREET  .  KEW  YORK  CITY 


Public  Soon  Will  Insist 

on  Color,  Says  Harkrider 


PRECISIOn 

16  mm,  JUduUioH  ?AUtt 


is  the  product  of  skill  and  ex- 
treme care  in  every  step  of 
film  processing.  Your  Indus- 
trial Sound -Picture  deserves 
the  superior  performance  ob- 
tained with  this  skill  and  care. 


Automatic  film  processing 
Sensitometric  control 
'Cinex'  timing 
Complete  air  conditioning 

Optical  and  contact  printers 
for  direct  16  mm.  and  for  35 
mm.  to  16  mm.  sound  track 
and  picture. 

PRECISIOn 

FILM  LABORATORIES 
A  DIVISION  OF  BERNDT-MAURER  CORP. 
21  WEST  46th  ST.  .  NEW  YORK  CITY 


(Contiiiiii'd  from  T'dyc  225) 

in  two  classifications.  You  will  find  some 
of  them  are  colorblind.  The.se  will  have 
to  rely  on  an  art  director  if  they  are 
to  be  progressive.  Sometimes  you  will 
find  an  art  director  who  is  color  blind, 
too. 

"I  think  those  who  decide  to  go  into 
the  study  of  color  or  any  other  subject 
will  find  when  spending  their  own  money 
they  will  learn  much  more  quickly  than 
when  on  studio  time.  They  may  enhance, 
for  instance,  the  tendency  to  restraint  or 
they  may  acquire  other  qualities  which 
stand  out  so  prominently  on  the  screen. 

Improving  Values 

"I  often  have  had  a  feeling  that  color 
pictures  were  overlit,  especially  in  the 
past.  Undoubtedly  it  is  true  that  at  on^ 
time  people  sought  gaudy  color.  I  think 
now  every  one  recognizes  that  the  use  of 
less  lighting  on  color  improves  and  brings 
out  the  values.  The  recent  color  film  is 
more  sensitive,  which  permits  less  light 
than  in  the  past. 

"It  parallels  what  you  get  in  black 
and  white  in  color  contrast.  In  making 
sketches  it  is  not  color  you  employ.  It 
is  shadows  with  which  you  enrich  it — 
that  you  employ  to  dramatize  it. 

"You  wouldn't  dare  put  into  a  setting 
or  a  gown  the  colors  you  find  in  a  bed 
of  flowers.  But  it  proves  all  right  be- 
cause of  the  depth  of  texture,  which 
gives  light  and  shade  to  color.  As  the 
light  changes  or  as  it  moves  you  get 
great  depth. 

"I  don't  think  there  is  going  to  be  any 
new  breed  of  photographers  when  color 
comes.  They  will  have  a  chance  to  do 
then  all  they  have  been  doing  in  black 


What  About 


(Continued  from  Page  232) 

Crime  School,  Warners — "Arthur 
Todd's  photography  is  better  than  aver- 
age," and  "Photography,  settings,  direc- 
tion keep  the  picturesque  quality 
stressed." 

Swiss  Miss,  Hal  Roach — "Posies  for 
artistic  achievement  belong  to  ...  .  and 
to  Cameraman  Norbert  Brodine,"  and 
"photography  by  Norbert  Brodine  and 
Art  Lloyd  is  up  to  standard." 

Blind  Alibi,  R.K.O.— "Nicholas  Musu- 
raca's  photography  is  superfine"  and 
"well  photographed  by  Nicholas  Musu- 
raca." 

One  Wild  Night,  20th— "Harry  Davis's 
photography  is  excellent." 

The  Saint  in  New  York,  R.K.O.— "Pho- 
tography, credit  for  which  is  shared  by 


and  white.  More  than  that,  they  will  have 
new  ways  of  doing  it. 

"When  it  comes,  this  shift  from  black 
and  white  to  color,  it  will  not  be  so 
sudden,  but  it  will  be  conclusive." 

The  producer  referred  to  his  previous 
allusion  to  the  present  cost  attached 
to  photographing  color. 

"Sound  was  expensive,  too,"  he  added, 
"but  the  cost  was  absorbed — absorbed  by 
the  public  beyond  a  doubt.  Now  after 
we  have  had  sound  for  a  number  of 
years  we  can't  get  along  without  it. 
Novelty  to  Fixture 

"It  is  a  fixture  and  a  part  of  the  busi- 
ness. No  one  would  think  of  changing  it 
now.  Even  the  few  prophets  of  calamity, 
and  some  of  them  were  quite  loud  for  a 
time,  have  ceased  their  noise. 

"Color  will  be  the  same  way.  After 
having  had  it  we  will  find  we  can't  get 
along  without  it.  And  the  coming  of  color 
will  bring  no  equipment  burden  on  the 
exhibitor  as  it  will  be  recalled  happened 
on  the  break  of  sound. 

"As  audiences  become  more  critical  the 
art  director  must  be  more  careful  of  its 
use.  Improper  use  of  color  will  hurt  the 
eyes  of  the  audience.  Color  film  will  be 
perfected  so  it  will  be  no  more  trying  to 
those  eyes  afi^ected  by  it  than  is  black 
and  white.  In  creating  sets  it  will  be  up 
to  the  art  director  to  make  color  much 
easier  on  the  eyes." 

The  producer  paused  a  moment  as  he 
looked  out  across  the  mountain  tops  be- 
tween his  home  and  the  ocean.  "You 
know,"  he  said,  "we  have  been  speaking 
much  of  cameramen."  He  turned  to  the 
interviewer  and  added:  "I  note  some- 
times just  a  trace  of  a  green  eye,  benevo- 
lently green  of  course,  when  a  remark 
is  made  that  'The  cameraman  has  the 
final  say  of  what  goes  on  the  screen.' 

"But  sight  is  lost  of  the  great  tnith 
that:  'Also  he  has  the  responsibility'." 


Joseph  August  and  Frank  Redman, 
matches  with  general  tone  of  film"  and 
"Joseph  August  and  Frank  Redman 
furnish  exceptional  photography." 

Crime  Takes  a  Holiday,  Columbia — 
"Photography  of  James  Brown,  Jr.,  is 
tops"  and  "James  S.  Brown,  Jr.,  did  an 
excellent  job  with  his  lens." 

Lady  in  the  Morgiie,  Universal — "Ex- 
cellent photography  by  Stanley  Cortez." 

Gun  Law,  R.K.O. — "Joseph  August 
has  contributed  gorgeous  photography" 
and  "Joseph  August  as  photographer 
does  a  job  that  is  in  keeping  with  other 
strong  points  of  picture." 

Hold  That  Kiss,  M.G.M.— "George 
Folsey's  photography  is  at  its  best  stand- 
ard" and  "George  Folsey's  photography 
is  superb,  as  always." 

Cocoannt  Grove,  Paramount — "Leo 
Tover's  photography  got  full  value  from 
the  production"  and  "Technical  contribu- 
tions are  first  class,  including  photog- 
raphy by  Leo  Tover." 

Hunted  Men,  Paramount — "Technical 
support  is  able  throughout"  and  "Victor 
Milner's  camera  caught  it  right." 

Blind  Alibi,  R.K.O. — "Nicholas  Musu- 
raca's  photography  is  superfine." 

Golddiggers  in  Paris,  Warner  Brothers 


June,  1938    •    American  Cinematographer  237 


— "The  musical  is  photographically  ex- 
cellent, with  George  Barnes  swinging  his 
odd  angle  lens  on  the  dance  numbers 
and  Sol  Polito  on  the  dramatic  sequence" 
and  "Sol  Polito,  photographer,  and 
George  Barnes,  who  lensed  the  group 
sequences,  turned  in  a  capable  job." 

Kidnapped,  20th  Century-Fox — "Gregg 
Toland's  photography,  largely  in  sepia, 
conveys  the  feeling  of  the  misty  high- 
lands and  bring  some  scenes  as  rich  as 
an  old  master  to  the  screen." 

Who  Killed  Gail  Preston,  Columbia — 
"Henry  Freulich  used  his  lens  to  ad- 
vantage." 

The  Ma/)~ines  Are  Here,  Monogram — 
"Gilbert  Warrenton's  photography  is 
better  than  average." 

The  Devil's  Parti/ — "Milton  Kras- 
ner's  photography  is  excellent." 

Yellotv  Jack,  MGM — "Lester  White's 
photography  is  the  best." 

Bloml  Cheat,  RKO — "J.  RoY  Hunt's 
photography  is  good,  as  always." 

Three  Comrades,  MGM — "Joseph  Rut- 
tenberg's  photography  is  tops  as  al- 
ways", and  "Photography  by  Joseph 
Ruttenberg  is  up  to  the  excellent  tone 
which  distinguishes  the  offering." 

Production  Activity 

COLUMBIA 

Orphans  of  the  Law — James  S. 
Browne,  jr. 

You  Can't  Take  It  with  You — Joseph 
Walker. 

Singing  Guns — Benjamine  Kline. 
M.G.M. 

Marie  Antoinette — William  Daniels. 
Lord  Jeff— John  Seitz. 
Shop-worn    Angel — Joseph  Rutten- 
berg. 

One  Woman's  Answer- — Ray  June. 
Give  and  Take — Oliver  Marsh. 
Too  Hot  To  Handle — Hal  Rosson. 
The  Crowd  Roars — Oliver  Marsh. 
The  Great  Waltz — Joseph  Rutten- 
berg. 

PARAMOUNT 

Spawn  of  the  North — Charles  Lang, 
Jr. 

Sing  You  Sinners — Karl  Struss. 
Prison  Farm — Harry  Fischbeck. 
Give  Me  a  Sailor — Victor  Milner. 
Men  With  Wings — Duke  Greene. 
If  I  Were  King — Theodore  Sparkuhl. 


NEW  VARIRAY  RECORD- 
ING GALVANOMETER 

•  Variable  Area. 

•  Noise  Reduction  Shutter. 

•  Noise  Reduction  and   Lamp  Control 
Panel. 

•  High  Quality  Optical  System. 
Complete,  ready  to  install  $750  net 

Blue  Seal  Sound  Devices,  Inc. 

723  Seventh  Avenue,  New  York  City 
Cable  Address:  Soundfllm 


Artists  and  Models  Abroad— Ted  Tetz- 

LAFF. 

Return  of  the  Fox — Russell  Harlan 
R.K.O. 

Mother  Gary's  Chickens — J.  Roy  Hunt 
Cheating  the  Stars — Jack  Mackenzie. 
Ground  Crew — NicK  Musuraca. 
Crime  Ring — Jack  Mackenzie. 
Care  Free — Robert  DeGrasse. 

20TH  CENTURY-FOX 
Hello  Hollywood — Edward  Cronjager. 
I'll  Give  A  Million — Lucien  Andriot. 
Always  Goodbye — Robert  Planck. 
Lucky  Penny — Arthur  Miller. 
My  Lucky  Star — John  Mescall. 
Suez — Peverell  Marley. 
Panamints'  Bad  Boy — Allen  Thomp- 
son. 

Passport  Husband — Harry  Davis. 
Ellis  Island — Edward  Cronjager. 
Meridian — Virgil  Miller. 

UNITED  ARTISTS 
Algiers — James  Wong  Howe. 
Young  In  Heart — Leon  Shamroy. 

UNIVERSAL 
The  Rage  of  Paris — Joseph  Valen- 
tine. 


Letter  of  Introduction — Karl  Freund. 
Western  Trails — Harry  Neumann. 
Afraid  to  Talk — George  Robinson. 
Pony    Express    Days — Harry  Neu- 
mann. 

WARNER  BROTHERS 
Garden  of  the  Moon — Tony  Gaudio. 
Valley  of  the  Giants — Sol  Polito. 
Sister  Act — 

Racket  Busters — Arthur  Edeson. 
Girls  on  Probation — Arthur  Todd. 

MONOGRAM 
Romance  of  the  Timberlost — Gilbert 
Warrenton. 

T 

MY  ASSISTANT  SAYS 
That  he  is  going  to  take  his  own  advice 
of  last  month  and  say  nothing. 
So  I'll  say  THAT 

There  must  be  a  strain  of  the  make- 


Fried  Laboratory  Equipment 

35MM         I6MM  COLOR 

Printers:  Color,  Continuous,  Step,  Optical 
Lite   Testing    Machines   Developing  Machines 

FRIED  CAMERA  CO. 

6154  Santa  Monica  Blvd.,  Hollywood,  Cal. 
Cable:  FRIEDCAMCO 


Camera  Supply  Co. 

FOR 

Efficient-Courteous  Service 

GORDON  BENNETT— MANAGER 
• 

Everything  Photographic 
Professional  and  Amateur 
• 

New  and  Used  Equipment 
Bought — Sold — Rented 
• 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga  Boulevard 
HOLLYWOOD  CALIFORNIA  j 

Cable  Address — Canr)eras  I 


Motion  picture  cameraSupply- 

723  SEVENTH  ave.  NEW  YORK,  N.Y 

BRvant9-7754  J.  BURCI  CONTNER  CXdZf: CINECAMERA 


238      Ameiucan  Cinematogkai'HEU    •    .June,  I'XiH 


believe  left  in  me  because  I  saw  Snow 
White  and  the  Seven  Dwarfs  five  times. 
Gee,  what  a  document!  Or  maybe  it's 
just  plain  sentiment.  "Mush!"  as 
'Grumpy'  terms  it.  Nevertheless,  it  hits 
home.  Moreso,  upon  the  occasion  of  my 
fifth  viewing'  of  the  picture  as  I  sat  next 
to  a  young  lady  somewhere  around  the 
age  of  ten.  On  my  other  side  sat  another 
young-  lady  around  the  age  of  fifty.  So 
I  ag-ain  saw  Snow  White;  not  upon  the 
screen  but  in  the  faces  of  these  two  girls. 
One  starting  out  in  life  and  the  other — 
well,  just  thinking.  The  screen's  light 
reflected  the  most  hidden  hopes  of  both 
and  in  one  instance  there  was  a  diamond- 
like object  glistening  on  the  cheek  of  the 
young  lady  on  my  other  side,  while  the 
youngster  of  ten  clasped  her  hands 
tightly  hoping  that  the  prince  would 
arrive  in  time  ....  He  did,  and  the  last 
title  still  registers  'And  They  Lived  Hap- 
pily Ever  After'  for  both  girls  ....  Ex- 
cept perhaps  Minnie  Mouse,  who  had 
the  crust  to  pull  the  prize  crack  at  the 


preview  of  the  picture,  even  while  every 
one's  hands  .still  were  warm  from  ap- 
plauding, when  she  asked  Mickey  Mouse: 
"What's  Snow  White  got  that  1  haven't?" 

Professional  jealousy,  I  think. 

See  you  next  month. 

BERT. 


Arcs  and  Inkies  Blended 

to  Light  'Marco  Polo'  Set 

(Continued  from  Page  2-iIf) 

trast  the  modern  arcs  with  those  he 
used  in  Europe  in  pre-talkie  days.  Like 
the  arcs  used  in  this  country  at  the 
same  period,  they  were  far  from  per- 
fect. With  no  need  for  noiseless  opera- 
tion, they  were  of  course  far  from 
silent.  Based  on  the  parabolic-mirror 
principle,  they  showed  marked  aberra- 
tions whenever  the  beam  was  flooded. 

Further,  they  flickered  badly,  often 
flickering  at  the  most  dramatically  suc- 


cessful take.  Their  light  was  of  a 
markedly  bluish  tinge,  which  made  an 
exaggerated  contrast  with  the  warmer 
light  of  incandescent  units.  Mixing  the 
two  sources  of  illumination  was  a  dif- 
ficult and  seldom  satisfactory  feat. 

"Today's  arcs,"  he  continued,  "are 
enormously  different.  We  utilized  the 
new  Mole-Richardson  H.  L  Arcs  devel- 
oped primarily  for  use  with  the  Tech- 
nicolor process.  They  are  a  great  im- 
provement over  the  older  equipment  in 
every  way.  Of  course,  being  designed 
for  modern  usage,  they  burn  silently. 
Also,  the  engineers  have  produced  lamps 
which  burn  almost  as  steadily  as  an 
incandescent. 

"These  modern  arcs  are  based  on 
the  same  ?>esnel-lens  optical  design  as 
the  familiar  incandescent  Juniors,  so  that 
the  beam  is  uniformly  distributed,  and 
works  over  a  wider  range  of  beam- 
spreads.  And  like  all  arcs,  these  beams 
have  great  carrying  power. 

"What  is  especially  important  in  this 
particular  application,  the  beams  of 
these  modern  units  can  be  corrected  to 
work  much  more  favorably  with  incan- 
descent illumination.  The  normal  color 
of  the  light  from  these  lamps  is  a 
steely  bluewhite.  We  used  them  with 
the  straw-colored  Y-1  filter  employed 
for  Technicolor  lighting. 

Not  So  Far  Apart 

"This  corrects  them  to  a  white-light 
daylight  standard.  In  our  monochrome 
scenes  these  beams  were,  as  far  as 
color-rendition    goes,  indistinguishable 


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COOKE  LENSES 

Anticipating  constant  im- 
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power  of  films  .  .  .  fully  cor- 
rected for  extended  spectrum 
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June,  1938    •    American  Cinematographer  239 


from  incandescents  save  that  they  gave 
us  stronger,  better  defined  shadows. 

"On  the  other  hand,  the  incandescent, 
with  its  softer  light,  is  generally  much 
more  flattering  to  people.  Therefore  we 
almost  invariably  illuminated  the  play- 
ers with  incandescent  light,  while  illu- 
minating the  sets  around  them  with 
arc  light. 

"This  was  greatly  facilitated  by  two 
factors.  In  the  first  place,  the  Fresnel- 
lens  systems  of  the  modern  arc  and 
incandescent  spotlights  eliminate  the  old 
trouble  of  spilled  light.  Therefore  we 
could  flood  our  lamps  to  any  desired 
spread  without  fear  that  either  type 
would  scatter  unwanted  rays  where  they 
were  not  wanted. 

"Secondly,  the  strongly  directional 
beams  of  the  arcs  could  very  easily  be 
confined  to  precisely  the  desired  areas 
by  the  relatively  recently-developed  ac- 
cessories such  as  'barn  doors'.  " 

Another  technical  detail  which  Mate 
was  too  modest  to  mention  was  the 
fact  that  he  never  allowed  his  arc  light- 
ing and  arc-cast  shadow-patterns  to 
become  obvious  or  intrusive.  The  fa- 
miliar use  of  arc  beams  to  simulate 
strong  shafts  of  sunlight  and  for  similar 
eff"ects  has  caused  some  cinematogra- 
phers  to  lose  sight  of  the  fact  that  arc 
beams  can  be  proportioned  to  match  the 
intensity  of  adjacent  incandescent  illu- 
minated areas,  thereby  blending 
smoothly,  yet  retaining  the  arc's  char- 
acteristic definite  shadow. 

Decorative  Lighting 

This  can  of  course  be  done  in  a  vari- 
ety of  ways,  including  the  use  of  smaller 
units,  a  wider  beamspread,  a  longer 
throw,  or  ingenious  auxiliary  iris  dia- 
phragms. Similarly,  the  use  of  various 
types  of  diff'usion  on  today's  arc  spot- 
lights, especially  when  used  in  combi- 
nation with  modern  Mazda  equipment, 
offers  added   variety   which   a  skillful 


FAXON  DEAN  I 

INC.  I 


CAMERAS 

BLIMPS-DOLLY<^  | 

ROK  REXT 


MO.  11»3S 

4516  Sunset  Boulevard 
Night,  NO.  22563 


cinematographer  can  use  to  create  an 
enlarged  range  of  decorative  effects. 

With  the  modern  technique  of  pre- 
cision lighting  hard  shadow-patterns 
from  undiffused  arcs,  more  delicate  pat- 
terns from  diffused  arcs,  and  yet  softer 
patterns  from  incandescent  units  can  be 
interlaced  and  intercut  to  afford  a  range 
of  decorative  lighting  effects  of  great 
pictorial  expressiveness. 

To  Rudy  Mate,  however,  the  artistic 
end  is  of  more  compelling  interest  than 
the  technical  means.  He  holds,  rightly, 
that  the  true  camera  artist  is  tech- 
nically resourceful,  and  can  rise  above 
technical  limitations. 

In  support  of  this  he  points  to  many 
outstanding  films  of  the  past,  as  well 
as  present-day  achievements  of  foreign 
cinematographers. 

"But,"  he  concludes,  "the  American 
cinematographer   of  today   is  uniquely 


favored.  In  addition  to  his  own  inher- 
ent artistic  resources  he  has  at  his  com- 
mand an  ever  improving  array  of  tech- 
nical resources.  There  are  specialized 
emulsions,  specialized  lamps,  and  spe- 
cialized methods  for  obtaining  every  ef- 
fect his  artistic   instinct  demands. 

"And  insofar  as  the  cinematographer 
keeps  abreast  of  these  developments, 
knows  that  they  exist  and  how  to  use 
them,  in  such  a  measure  he  can  find 
himself  free  from  the  purely  mechanical 
drudgery  of  thinking  purely  in  terms 
of  technique. 

"As  he  utilizes  these  great  advantages, 
determining  the  means  by  instinct  while 
his  conscious  mind  concentrates  on  the 
artistic  end,  so  he  can  more  fully  real- 
ize our  profession's  contention  that  cine- 
matography is  not  mere  mechanical  re- 
production, but  creative  art  in  the  high- 
est sense." 


CAMERA 
WORK 

BY  EXPERT  TECHNICIANS 


*  RENTALS 


MITCHELL*  BELLIHOWELL 

CAMERAS 

ACCESSORIES* 


FRANK  ZUCKER 


CAMERA  EQUIPMENT 


IHC 


\^  1600  ^^(7A/7kyAyAT48"\ CIRCLE  6-5080  cabie  ciNEquip 


FILM  TESTED 


Automatic  Developing  Machines 

Soundolas 

Sensitesters 

Reeves-Iites 

Variable  Density  Sound  System 
Variable  Area  Sound  System 
Microphone  Boom 
Sound  Accessories 
Laboratory  Accessories 


ART  REEVES 

MOTION    PICTURE  EQUIPMENT 

Cable  Address:  ARTREEVES 
7512  Santa  Monica  Blvd.  Hollywood,  California  U.  S.  A. 


240     American  Cinematographer    •    June,  1938 


Hesser color  Making  Enlargements 
from  35mm.  Color  Transparencies 


HESSERCOLOR  CORPORATION, 
6605  Hollywood  boulevard,  Holly- 
wood, this  month  makes  a  state- 
ment that  should  be  of  much  interest  to 
the  users  of  35mm.  candid  cameras  who 
indulge  in  the  shooting  of  Kodachrome 
and  other  color  transparencies.  The  an- 
nouncement is  that  this  corporation, 
favorably  known  for  its  natural  color 
photographs,  has  developed  a  service  for 
the  making  of  natural  color  prints  from 
35mm.  transparencies. 

Hessercolor  enlargements  are  in  two 
sizes — 8  by  10  and  11  by  14  inches,  and 
are  of  unusual  quality  and  beauty.  It 
is  difficult  to  believe  they  are  enlarge- 
ments from  a  35mm.  transparency,  for 
they  have  the  quality  of  expensive  color 
photographs. 

A  feature  of  the  Hessercolor  policy  is 
the  g-uarantee  of  satisfaction  to  its 
customers.  "We  are  too  proud  of  our 
process  and  our  reputation  to  allow  any 
print  to  leave  our  laboratory  unless  it 
is  satisfactory,"  declares  one  of  the  ex- 
ecutives of  the  corporation. 

"We  not  only  must  satisfy  our  cus- 
tomers, but  we  must  satisfy  ourselves 
before  shipping  an  enlargement.  If  a 
customer  who  either  sends  his  money 
livery  is  not  satisfied  with  his  prints, 
livery,  is  not  satisfied  with  his  prints, 
we  gladly  will  refund  the  money  on  re- 
ceipt of  the  returned  print.  And  we 
have  instructed  the  dealers  who  are  act- 
ing as  our  agents  immediately  to  refund 


_  » 


UARIABLE  flREfl  RECORDERS 

^    REDUCTION  SOUND  PRINTER 

rl  SOUND  EQUIPMENT  Ml 

Cable  address  CRSCO 

C.R.  SKINNER  MFG.  Co. 

San  Francisco.  Calitornia     U.  S.  A.  a 


H.  Schcibo 

F  EFFECT  FILTERS 

LOS  ANGELEIS.  CAL 


•       •       •     O    M   ^   E   X     •      •  • 

•  Light  Testers — Polishers  used  by  all 
maior  studios.  We  are  the  Sole  Mfrs. 
and  Distributors. 

•  Mfrs.  of  16mm  and  35mm  Recording 
Heads,  Amplifiers,  Developing  Ma- 
chines,  Printers,  Etc. 

CINEMA  ARTS— CRAFTS 

914  N.  Fairfax    HE-1984    Hollywood,  Calif. 


any  advance  a  customer  may  have  paid 
on  a  print  if  the  customer  does  not  find 
it  satisfactory. 

"Thus  far  no  customer  has  been  dis- 
satisfied. We  hope  none  ever  will  be. 
We  ship  our  prints  mounted  and  ready 
for  framing.  We  reserve  the  right  to 
refuse  to  make  an  enlargement  from  a 
transparency  that  is  not  satisfactory  in 
our  estimation. 

"To  make  perfect  enlargement  prints 
your  transparency  must  be  brilliant  in 
coloring,  free  from  abrasions  and  spots, 
and  must  have  been  correctly  exposed. 
In  a  short  there  there  will  be  a  Hesser- 
color dealer  in  practically  every  section. 
If  there  is  no  dealer  in  your  community 
handling  our  work  we  will  accept  orders 
direct.  But  we  would  perfer  handling 
it  through  a  reputable  dealer." 

The  corporation  will  welcome  inquiries 
from  established  and  reputable  dealers 
for  agency  terms. 


DE  BRIE  SUPER  PARVO 

•Seic  Typv  Lltra  Silent  Camera — 
/Vo  Blimp  decenary 

Hat  built-in  motor,  automatic  dissolve, 
pilot  pins  and  anti-buckling  device.  Four 
lOOO-ft.  magazines— 40  mm.  50  mm.  and 
75  mm.  F2.3  lenses,  De  Brie  upright  finder, 
set  of  front  attachments.  Leather  covered 
carrying  trunk  and  tripod  cover.  It's  the 
latest  type  equipment  .  .  .  like  new! 

Camera  Equipment,  Inc. 

1600  Broadway  New  York  City 

Tel.  Circle  6,5080  Cable:  Cinequip. 


Eight  days  after  publication  of  the 
Academy  Research  Council's  new  book, 
"Motion  Picture  Sound  Engineering,"  all 
available  copies  were  sold,  with  approxi- 
mately 400  additional  orders  on  file  at 
the  Council  office  for  futui'e  delivery. 


EYEMO 


Filter  I'rohlems  Solved 
ALL  MODEL  EYEMOS  adapted  to 
accommodate  Wrattan  filter  in  indi- 
vidual metal  holders.  One  filter  serves 
all  lenses. 

Holders     readily  interchangeable. 
Wrattan  filters  easily  replaced. 
Complete    camera  modifi- 
cation   including     I     filter  ^ 
holder  $25.00 

Additional    filter  holders, 

each    2.50 

Patents  Pending 

National  Cine  Laboratories 

20-22  West  22nd  St.  New  York  City 


Cut  Picture  Costs  with 


TYPE  T'5 
STUDIO 
SPOT 


More  than  double  your  light  per  unit 

Bardwell  &  McAlister,  Inc. 

MOTION  PICTURE  ELECTRICAL  EQUIPMENT 
7636  Santa  Monica  Blvd. 
Hollywood.  California  Tel.  HOllywood  6235 


EASTMAN 
SUPER  X 

NEGATIVE 

J.  E.  BRULATOUR,  INC. 


WHAT'S  HEW"-'""""' 


B&H  8  MM.  TITLER 

With  this  new  accessory,  users  of  Fiimo  8  mm. 
Cameras  of  any  model  can  have  the  fun  of  filming 
their  own  titles,  mai<ing  animated  maps  and  cartoons, 
copying  pictures,  filming  flowers  and  insects,  etc. 

The  Titler  includes:  rigid  metal  pedestal  with  title 
card  holder  and  accurately  aligned  camera  mount; 
a  highly  corrected  copying  lens  in  exclusive  "sealed- 
focus"  mount;  sockets,  reflectors,  and  two  pairs  of 
lamps;  title  cards. 

To  use,  merely  remove  the  camera's  regular  lens 
and  attach  the  camera  to  the  copying  lens  at  the  top 
of  the  pedestal.  No  focusing,  no  exposure  question, 
no  alignment  problem.  Fine  results  are  assured  by 
careful  design  and  precision  construction.  Price 
complete,  $2  5. 


32-Volt  Projectors 
for  Your  Summer  Camp 

Will  you  spend  the  summer  where  only 
32-volt  electric  current  is  available?  Then 
take  a  32-volt  Filmo  Projector  along  for 
quick  previews  of  your  vacation  films,  and 
for  evening  entertainments.  Bell  &  Howell 
offers  32-volt  models  in  both  silent  and 
sound  film  projectors.  These  machines  can 
also  be  operated  on  1 10-volt  current,  with 
accessory  equipment.  Details  upon  request. 


1200-Watt  Illumination 
for  Models  130 

A  new  1200- watt  100-volt  lamp  is  now 
available  for  Filmo  1  30  silent  and  Filmo- 
sound  130  Projectors,  bringing  to  owners 
and  purchasers  of  these  powerful  machines 
even  greater  illumination  than  the  1000- 
watt  lamp  has  provided.  The  1200-watt 
lamp  marks  another  great  step  forward  in 
16  mm.  projection. 


CAMERA 

TO  DO  EACH  JOB  BEST 


FILMO  70-D.  Master  of  16  mm.  personal  movie  cameras.  Three-lens  tur- 
ret head  makes  instantly  available  your  choice  of  lenses  for  every 
purpose,  from  telephoto  to  wide  angle.  Seven  speeds  from  8  to  64. 
Easy  to  use,  yet  includes  every  feature  needed  by  the  most  discrim- 
inating amateur.  With  Taylor-Hobson  Cooke  F  2.7  lens,  $192. 


FILMO  121. Quick  magazine-loading  l6  mm.  camera. 
Partially  exposed  film  interchanged  at  will.  T-H 
Cooke  F  2.7  lens.  Pocket  size.  Two  speeds  and 
single-frame  exposures,  $8S. 


FILMO  DOUBLE  8  CAMERAS.  All  oflFer  four  speeds  and  single-frame 
exposure  device,  instant  lens  interchangeability,  viewfinder 
masks  matching  fields  of  telephoto  lenses,  and  easy  loading — 
film  almost  drops  into  place.  Filmo  134-G  (left  above),  with 
F  3.5  lens,  $55.  Filmo  134-E,  streamlined,  with  Taylor-Hobson 
F2.5  lens  and  automatically  reset  film  footage  indicator.  $80. 
Either  model  with  speeds  16  to  64,  $5  additional. 


BELL  &  HOWELL 


Scene  from  I  rsula  Parroll's  ureal  novel.  I  here' i  Al- 
waysTomorrou ,  now  made  into  a  lop-noich  mo\ie 
starring  Robert  Taylor,  Frank  Morgan,  Binnie 
Barnes,  Alan  Hale,  Lois  Wilson.  Available  in  16  mm. 
through  Bell  &  Howell  Library  exclusively. 

NEW  HOLLYWOOD  PHOTOPLAYS 
RELEASED  ON  16  MM. 

Now  available  exclusively  through  the 
Bell  &  Howell  Filmosound  Library  is 
the  largest  single  list  of  16  mm.  talking 
pictures  controlled  by  any  major  producer. 
This  Universal  Film  list  includes  such  lead- 
ing attractions  as  Counselor  at  Law  starring 
John  Barrymore;  Beloved  with  John  Boles; 
There's  Always  Tomorrow  featuring  Robert 
Taylor  and  Frank  Morgan;  and  other  recent 
box  office  smash  hits. 

Altogether,  this  splendid  series  includes 
27  feature  pictures  and  50  shorts.  The  fea- 
tures star  such  Hollywood  names  as  Edward 
Arnold,  Lee  Tracy,  Robert  Taylor,  Victor 
McLaglen,  Edward  Everett  Horton,  Robert 
Young,  Ruth  Etting,  and  Gloria  Stuart. 

Interesting  short  subjects  include  such 
offerings  as  Going  Places  with  Lowell 
Thomas,  Stranger  Than  Fiction,  etc.  Dynamic 
commentators  such  as  Alois  Havrilla,Jimmy 
Wallington,and  others  enliven  these  shorts 
and  make  them  really  outstanding  in  en- 
tertainment value. 

No  formalities  are  involved  in  renting 
for  home  showings.  However,  for  exhibi- 
tion outside  the  home,  the  location  must  be 
approved,  through  Bell  &  Howell,  by  Uni- 
versal at  New  York.  Write  now  for  com- 
plete information 
on  these  and  the 
hundreds  of  other 
16  mm.  sound  films 
available  through 
Filmosound  Library. 


Lejt — A  thrilling  scene 
from  The  Big  Cage,  star- 
ring Clyde  Beatty  and 
his  huge  cats. 


Use  Coupon  for  Information  on 
All  Equipment  and  Services 


BELL  &  HOWELL  COMPANY  ac  6-38 

1848  Larchmont  Avenue,  Chicago,  Illinois 

Please  send  information  about:  (  )  New  Filmo- 
sound Library  releases;  (  )  New  B  &  H  8  mm. 
Titler;  (  )  32-Volt  Projectors:|'^^°y.(  )  Filmo- 
arc  Projectors;  (  )  16  mm.  Cameras;  (  )  8  mm. 
Cameras;  (  )  16  mm.  silent  projectors; 
(    )  Filmosounds. 


Name. . . 
Address . 
City  


.Sljle. 


AMERICAN  CINEMATOGRAPHER 
AMATEUR  MOVIES  SECTION 


CAN  YOU  KEEP  OUT  OF  TROUBLE? 


"T^O  you  have  trouble  getting  that 
^—^  elusive  brilliance  and  sparkle  into 
your  outdoor  movies? 
If  you  do  .  .  .  try  your  next  outdoor  se- 
quences on  Agfa  16  mm.  Hypan  Revers- 
ible Film  .  .  .  the  film  that  gives  you  screen 
results  with  added  snap  and  luster! 
Hypan  has  pleasing  brilliance  and  a  bal- 
anced color  sensitivity  that  gives  a  natural 
interpretation  in  black  and  white  of  all 
colors  in  the  original  subject.  Its  fine 
grain  size  and  truly-effective,  non-hala- 


tion layer  contribute  materially  to  sharp.  p 
clear  movies  on  the  screen  .  .  .  Hypan's 
speed  in  daylight  is  approximately  that 
of  the  famous  Agfa  Superpan  Reversible. 

Start  using  this  brilliant  film  today  ...  it 
helps  you  get  as  good  outdoor  movies 
at  any  time  of  year  as  you  get  in  July! 
Hypan  comes  in  100-foot  rolls  at  $6.00, 
and  in  50-foot  rolls  at  $3.25,  including 
processing  and  return  postage.  Made 
by  Agfa  Ansco  Corporation  in  Bing- 
hamton.  New  York. 


June,  1938    •    American  Cinematographer  245 


GET  THIS 
FREE  BOOK 
ABOUT  THE 
CINE-KODAK 
SPECIAL 


It  takes  this  38-page  illustrated  book  to  describe  the  iinic|iie  advantages  of  the 
Cine-Kodak  Special.  For,  among  its  basic  features  are  an  adjustable  opening  shut- 
ter, reflex  finder,  interchangeable  100-  and  '-iOO-foot  film  chambers,  frame  counter, 
one-  and  eight-frame  shafts.  Its  scope  includes  animation,  mask  shots,  dissolves, 
fades,  multiple  exposures,  slow  motion  analysis  and  time  lapse  studies.  Available 
are  an  optical  finder,  reflex  image  magnifier,  electric  motor  drive,  eight  inter- 
changeable lenses,  tripod  and  tri{)od  truck.  Ask  your  Cine-Kodak  dealer  for  a 
free  copy  of  "The  Story  of  the  World's  Finest  1()  mm.  Movie  Camera,"  or  write  to 


EASTMAN  KODAK  COMPANY,  ROCHESTER,  N.  Y 


246      Amkrican  Cinematographer    •    June,  1938 


AMATEUR  MOVIE 


SECTION 


Contents.... 


SOCIETY 

OF  AMATEUR 

CINEMATOGRAPHERS 


BOARD  OF  REVIEW 

Victor  Milner,  President,  A.S.C.,  Director 
of  Photography  Paramount  Studios,  Acad- 
emy Award  Winner  1935 

Karl  Struss,  A.S.C.,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award 
Winner  1928 

Fred  W.  Jackman,  Treasurer  American  So- 
ciety of  Cinematographers 

Dan  Clark,  A.S.C.,  Director  of  Photog- 
raphy Twentieth  Century-Fox 

Tony  Gaudio,  A.S.C.,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 
Award  Winner  1937 


When  Chaplin  landed  lOG  a  week  247 

By  George  Blaisdell 

Visual  recreation  has  definite  value  to 

adult  and  young  alike  248 

By  Clifford  A.  Nelson 

"I   visioned   the   interest  of  children," 

says  Pioneer   252 

By  Herman  A.  De  Vry 

Screen  brightness  is  increased  25  per- 
cent by  'Anastigmatic'  Lens  253 

Cinema  Club  sees  Elton  Walker's  re- 
markable Yellowstone  scenic  254 

Littles'  Subscription  evenings  end  good 
year  and  will  continue  256 

Western  issues  Junior  type  for  amateurs 
seeking  smaller  meters  256 

It's  "The  plan's  the  thing"  if  you  seek 

to  insure  better  pictures  257 

By  John  Walter 

Problems  of  filter  simplified  by  reduc- 
ing number  to  two  or  three  258 

By  William  Stull,  A.S.C. 

New  Kodachrome  exposure  guide  covers 
all  picture  situations  260 

Features    and    participants    ready  for 
Visual   Education   Conference  261 

Wabash  Photolamp  announces  two  small 
flashbulbs  for  fast  film  262 

Du  Pont  issues  16mm.  regular  pan  as 
reversible  film  for  amateui-s  264 


June,  1938    •    American  Cinematographer  247 


JVhen  Chaplin  Landed  lOG  a  Week 


FROM  George  A.  Blair  in  Rochester 
comes  word  of  a  visit  from  a  man 
who  a  quarter  century  ago  was  one 
of  the  world's  largest  makers  of  pictures 
— -and  of  money:  George  K.  Spoor,  the 
"Ess"  of  Essanay.  That  company  will 
be  remembered  by  those  who  were 
around  and  about  when  the  Motion  Pic- 
ture Patents  Company  was  riding  high 
and  mighty,  back  in  the  days  of  Broncho 
Billy.  The  latter  series  of  pictures  alone 
made  a  fortune  for  Essanay. 

Another  and  even  greater  fortune  was 
won  by  the  same  company  with  Charlie 
Chaplin.  It  was  Essanay  which  intro- 
duced Chaplin  to  wider  recognition  and 
brought  him  substantial  financial  re- 
turns. The  comedian  had  been  compelled 
to  battle  for  his  place  in  the  sun  from 
the  first. 

According  to  the  understanding  at  the 
time  some  of  the  finer  specimens  of 
Chaplin's  initial  screen  comicalities  had 
found  their  way  to  the  cutting  room 
floor,  for  fear  he  would  move  too  fast 
and  his  salary  would  mount  proportion- 
ately. Essanay  sensed  the  player's  qual- 
ity, engaged  him  and  gave  him  full  play; 
and  the  wide  world  welcomed  him. 

In  the  late  spring  or  early  summer 
of  1915  Spoor  confided  to  this  writer 
that  Chaplin  was  being  buried  under  of- 
fers from  other  companies. 

"You  see,"  the  producer  explained, 
"the  bidders  are  in  the  dark.  They  do 
not  know  what  Chaplin  is  being  paid, 
but  guess  it  is  well  under  two  thousand 
a  week.  On  that  imaginary  figure  they 
are  basing  their  bids.  Actually  Char- 
lie is  drawing  twenty-eight  hundred  dol- 
lars a  week — land  that  means  that  per- 
haps with  one  exception  he  is  the  high- 
est paid  person  on  the  screen." 

When  Chaplin  left  Essanay  at  the 
conclusion  of  his  contract  it  was  to 
accept  the  offer  of  John  Freuler  of 
Mutual.  The  salary  stipulated  in  the 
contract  was  ten  thousand  dollars  a 
week.  Also  there  was  a  bonus  as  an 
inducement  to  sign  which  ran  well  into 
six  figures,  8170,000  if  memory  serve. 
It  was  told  at  the  time  that  brother 
Sid,  who  negotiated  the  deal,  was  made 
a  present  of  the  bonus. 

Not  only  the  motion  picture  industry 
was  astounded.  That  frame  of  mind 
extended  to  the  world  at  large.  Plenty 
of  skepticism  flared  into  print  following 
the  announcement.  The  newspapers 
flouted  it.  And  very  likely  a  parallel 
tale  would  be  similarly  treated  even  at 
this  late  day,  over  two  decades  later. 

When  this  writer,  then  on  the  Mov- 
ing Picture  World,  handled  the  state- 
ment it  was  to  treat  the  announcement 
as  an  absolute  fact.  His  story  did  more 
than  that. 

The  belief  was  expressed  that  Freuler 


By  GEORGE  BLAISDELL 

was  a  good  business  man  and  that  he 
and  his  company  would  reap  a  fortune  as 
the  result  of  the  contract  with  Chap- 
lin. Further,  it  was  the  opinion  of  the 
writer  that  Chaplin's  salary  could  be 
paid  from  the  profits  that  would  accrue 
on  his  pictures  from  Australia  alone — 
leaving  the  remainder  of  the  old  earth 
as  just  pure  velvet.  And  even  then 
that  was  quite  a  slice  of  territory. 

Also  there  is  recollection  that  follow- 
ing the  appearance  of  the  story  in  the 
World  there  came  a  telephone  call  from 
Terry  Ramsey,  then  a  business  asso- 
ciate of  Freuler  even  as  he  is  now  of 
Martin  Quigley,  congratulating  this 
writer  on  his  judgment  in  taking  at  its 
face  the  story — which  Ramsey,  by  the 
way,  had  written — and  the  sand  to  print 
it  in  the  face  of  the  doubters. 

But  ten  thousand  dollars  a  week  really 
was  a  lot  of  money  when  the  screen 
was  young.  And  it  is  quite  sizable,  we 
repeat,  even  today. 

Coming  back  to  George  Spoor,  it  is 
well  to  know  the  world  is  treating  him 
kindly. 

"I  think  you  will  be  interested  to  hear 
that  last  Monday,"  writes  George  Blair, 
"George  K.  Spoor,  whom  you  will  recall 
as  'Essanay'  and  almost  the  'forgotten 


man'  as  far  as  pictures  are  concerned, 
dropped  in  to  see  me  on  his  way  to 
New  York.  He  is  now  in  the  oil  busi- 
ness in  Texas  and  prospering  greatly." 
T 

Many  followers  of  sub-normal  film  at 
times  are  seized  with  a  curiosity  as  to 
what  they  inight  be  able  to  do  with  their 
8mm.  cameras,  for  instance,  on  a  nor- 
mally lighted  professional  stage.  Some 
of  these  at  the  May  meeting  of  the  Los 
Angeles  8mm.  Club  had  that  curiosity 
satisfied. 

Director  Lew  Landers  at  odd  moments 
during  the  production  of  RKO-Radio's 
"Condemned  Women"  had  taken  some 
candid  shots  of  players  and  sets.  There 
were  close-ups  of  Sally  Filers  which  gave 
her  an  opportunity  for  a  moment  to 
step  out  of  the  sombre — and  incidentally 
marvelous — performance  which  she  gave 
us  in  that  strong  story,  to  change  for  a 
moment  to  a  lighter  mood. 

There  was  one  factor  which  amateurs 
possibly  had  overlooked  in  estimating 
what  they  could  do  with  that  sub-normal 
camera  on  a  fully  lit  professional  stage: 

That  was  the  speed  of  the  respective 
films,  of  the  exceedingly  fast  35mm.  pro- 
fessional and  the  so-so  speed  of  the 
8mm,  But  it  was  mighty  interesting 
neveitheless;  and  informative,  too. 


From,  'way  down  under,  on  the  American  side  of  the  fence,  in  the  Argentine,  to  he 
exact,  Argentina  Sono  Film  issues  a  poster  containing  not  only  the  pictures  of  the 
three  principals  hut  the  names  of  the  men  responsible  for  the  actual  making  of  the 
film.  Included  will  be  noted  that  of  "Juan  Alton  (A.S.C.)."  Fast  work,  John.  You 
were  with  us  in  March,  and  noiv  you  have  carried  the  banner  of  A.S.C.  to  that  other 
Yankee  nation  down  below.  Here's  to  you! 


248     American  Cinematographer    •    June,  1938 


Visual  Recreation  Has  Definite 
Value  to  Adult  and  Young  Alike 

National  Authority  Declares  It's  Just  as  Important 
to  Direct  Young  Toward  Wholesome  and  Worth- 
while Activities  During  Leisure  as  It  Is 
to  Educate  Them  in  School  Hours 

By  CLIFFORD  A.  NELSON 


WHAT  is  visual  recreation?  The 
writer  has  been  asked  this  ques- 
tion countless  times.  Although  it 
is  rather  difficult  to  define  the  subject  in 
a  few  words,  we  can  state  briefly  it  con- 
sists of  an  educational  picture  program 
of  recreational  subjects. 

Since  the  depression  and  its  resulting 
increase  of  leisure  time  activity,  recrea- 
tion has  come  to  play  a  very  prominent 
part  in  everyday  life.  We  have  found  that 
it  is  just  as  important  to  direct  young 
people  toward  wholesome  and  worthwhile 
recreation  activities  during  their  leisure 
time  as  it  is  to  educate  them  during 
school  hours. 


Supervisor  Visual  Recreation,  San  Francisco 
Recreation  Commission 

It  is  equally  important  to  present  con- 
structive recreation  programs  for  adults. 
In  fact,  two  very  active  departments  of 
the  San  Francisco  Recreation  Commis- 
sion are  the  Adult  and  Industrial  Activi- 
ties departments. 

Origin  of  Visual  Recreation 

As  will  be  illustrated  in  this  article, 
the  writer  has  found  that  recreation 
motion  pictures  are  the  most  informa- 
tive and  effective  means  of  presenting 
the  subjects  of  modern  recreation  before 
various  child  and  adult  groups. 

Before  considering  some  of  the  details 
of  visual  recreation  it  might  be  well  first 


Ballet 

dancing 

in  the 

Sigmund 

Stern 

Grove  in 

San  Francisco 


to  review  the  interesting  and  dramatic 
origin  of  our  motion  picture  program. 

In  1931  a  certain  underprivileged 
neighborhood  of  San  Francisco  presented 
a  very  marked  degree  of  juvenile  delin- 
quency. In  order  to  determine  the  funda- 
mental cause  for  this  situation,  the 
Recreation  Department  conducted  an  ex- 
tensive survey  of  the  district.  As  a  result 
of  this  investigation  four  recommenda- 
tions were  made: 

The  first  recommendation  was  that  a 
co-ordinating  council  be  established  which 
would  attempt  to  solve  the  various  de- 
linquency problems  that  would  arise  in 
any  San  Francisco  area. 

Members  of  this  council  consist  of  the 
superintendent  of  recreation,  chief  of 
police,  superintendent  of  schools,  super- 
visor of  the  dance  hall  commission,  chief 
probation  officer,  director  of  public  health, 
director  of  public  welfare,  and  a  repre- 
sentative from  the  Community  Chest. 

Illuminate  Playgrounds 

The  second  recommendation  was  that 
certain  playgrounds  be  illuminated  for 
night  activity.  The  third  recommendation 
was  that  a  director-at-large  be  appointed 
in  each  of  the  various  districts  to  contact 
problem  children  and  to  help  place  them 
in  wholesome  recreation  activities. 

The  fourth  recommendation  was  the 
establishment  of  a  new  center  in  the 
previously  mentioned  delinquent  area. 
Of  all  of  these  recommendations  in  this 
report,  the  writer  will  consider  only  the 
fourth  because  it  is  part  of  the  story  of 
visual  recreation. 

Nineteen  thirty-one  was,  of  course,  one 
of  the  depression  years  and  no  money 
had  been  set  aside  in  our  budget  for  the 
emergency  procedure  of  building  a  new 
boys'  recreation  center.  However,  the  de- 
partment found  a  large,  abandoned 
church  building. 

This  was  remodeled  to  accommodate 
many  athletic  and  social  activities,  in- 
cluding basketball,  volleyball,  handball, 
boxing,  wrestling,  tumbling,  ping  pong, 
billiards,  dramatics,  cooking,  library, 
handicraft  clubs,  etc. 

As  many  as  350  boys  from  adolescent 
age  to  about  twenty  years  of  age 
swarmed  the  Center  every  afternoon  and 
evening.  Many  of  them  became  interested 


June,  1938    •    American  Cinematographer  249 


not  only  in  athletic  activities,  but  also 
in  arts,  crafts,  music,  dramatics  and 
hiking.  The  two  activities  which  directly 
influenced  the  development  of  visual 
recreation  were  those  of  the  Camera  Club 
and  the  Mountaineers'  Club. 

The  Camera  Club  was  interested  in  the 
art  of  developing,  printing  and  enlarging 
pictures.  Its  program  included  regular 
lecture  and  laboratory  meetings  and  spe- 
cial monthly  features.  It  also  managed 
the  motion  picture  shows  of  both  "home- 
made" and  rental  films  that  were  held 
regularly  at  the  Center. 

Combining  Trips 

The  Mountaineers'  Club  was  the  outing 
organization  that  made  regular  weekly 
and  week-end  trips  to  the  interesting 
country  around  San  Francisco.  Once  a 
year  it  featured  an  annual  pack  trip  into 
the  High  Sierra. 

Since  the  out-of-door  hobby  is  closely 
associated  with  that  of  taking  pictures, 
the  Camera  Club  and  the  Mountaineers 
combined  their  trips  on  many  occasions 
to  produce  some  excellent  outing  pictures. 

Since  the  director  was  keenly  inter- 
ested in  preserving  the  memories  of  the 
annual  outing,  motion  pictures  were 
taken  and  later  were  shown  to  the 
general  public.  The  boys  had  the  idea  of 
presenting  their  first  show  in  the  form 
of  an  imitation  of  a  Hollywood  premiere, 
and  since  then  each  of  the  six  pictures 
has  had  its  yearly  "preview."' 

The  first  picture  was  shown  to  a 
capacity  crowd  of  one  hundred  persons 
in  a  little  clubroom  at  the  Hayes  Valley 
Center.  Next  year  a  record  crowd  of  four 
hundred  packed  the  large  auditorium  of 
the  Center. 

Gala  evenings,  indeed,  were  the  nights 
of  the  previews.  Searchlights  flooded  the 
old  church  building.  Movies  were  taken  of 
the  notables,  such  as  the  chief  of  police 
and  the  superintendent  of  schools. 

The  inside  of  the  Center  was  decorated 
with  trees,  flowers  and  pine  cones.  The 
program  included  the  Junior  Symphony 
Orchestra,  a  "homemade"  newsreel  of 
recreation  activities,  a  stage  show  fea- 
turing singing  and  dancing  by  the  chil- 
dren from  the  various  playgrounds,  a 
master  of  ceremonies,  a  guest  speaker, 
and  finally  the  first  showing  of  the  new 
mountain  picture. 

Records  for  Background 

After  the  program  there  was  a  "prom- 
enade" or  open  house,  during  which  time 
the  guests  were  invited  to  see  the  various 
exhibits  throughout  the  Center.  At  that 
time  the  motion  pictures  were  supple- 
mented by  a  "homemade"  sound  system 
consisting  of  a  portable  radio  and  a  small 
phonograph  pick-up. 

Beautiful  recorded  music  was  selected 
for  the  sound  background,  and  the 
speaker  presented  the  explanation  or 
dialogue.  The  popularity  of  the  pictures 
has  grown  to  the  extent  that  last  year 
it  was  necessary  to  limit  the  number  of 
specially  invited  guests  to  1800  at  one 
of  the  largest  school  auditoriums  avail- 
able. 

Although  the  "previews"  reached  a 
large  number  of  people  interested  in 
public    recreation,    many  organizations 


and  schools  requested  private  showings 
of  these  movies.  The  Recreation  Commis- 
sion realized  the  possibilities  of  sponsor- 
ing this  recreation  motion  picture  pro- 
gram throughout  the  entire  City  of  San 
Francisco.  Thus,  Visual  Recreation  was 
very  definitely  organized  and  pro- 
grammed. 

Recreation  Motion  Picture  Program 

During  the  seven  years  that  the  Center 
has  been  in  operation,  and  especially  dur- 
ing the  last  three  years  while  the  Visual 
Recreation  department  has  been  function- 
ing as  a  special  branch  of  recreation,  we 
have  prepared  and  completed  recreation 
"movies"  of  all  the  activities  of  the  San 
F'rancisco  Recreation  Commission,  in 
addition  to  the  annual  pack  trip  pictures 
taken  in  the  California  High  Sierra. 

When  Visual  Recreation  was  officially 
established,  two  pictures,  "Recreation  in 
San  Francisco"'  and  the  current  trail  pic- 
ture, were  featured  on  the  standard 
recreation  motion  picture  program.  The 
first  movie  educates  the  people  of  our 
city  as  to  what  is  going  on  in  our  Recrea- 
tion Department. 

This  year's  color  films  summarize  the 
following  selected  activities.  There  is  one 
series  featuring  beautiful  marionette  and 
puppet  shows.  Another  series  shows  life 
saving,  swimming  exhibitions  and  water 
stunts  in  our  recreation  swimming  pools. 

The  next  series  shows  some  of  our 
music  and  dramatic  activities.  The  pag- 
eants of  color  costumes  are  particularly 
attractive  in  Kodachrome.  For  example, 


there  are  children  in  delicate  ballet 
dresses  and  in  brightly  colored  costumes 
of  all  nations  dancing  on  the  green  lawns 
of  the  beautiful  Sigmund  Stern  Grove 
with  tall  eucalyptus  trees  in  the  back- 
ground. 

Children  as  Gardeners 

Another  series  of  pictures  depicts  ac- 
tivities of  the  garden  projects.  In  these 
the  children  are  shown  cultivating  the 
ground,  planting  the  seeds  and  caring  for 
the  flowers. 

This  series  also  illustrates  classes  in 
flower  arrangements  and  table  decora- 
tions. Another  series  shows  the  children 
working  in  the  Junior  Museum  on  such 
activities  as  building  models  of  planes, 
trains,  ships,  forts,  etc.,  mounting  and 
preparing  natural  history  specimens,  car- 
ing for  the  animals  in  the  life  science 
room. 

The  activities  of  the  Natural  History 
Society,  the  Bug  Club,  and  wildflower 
study  groups  are  the  features  of  the 
Junior  Museum  activities. 

Other  children's  activities  in  the  gen- 
eral recreation  series  show  children  dis- 
playing their  interesting  dogs,  cats, 
ducks,  monkeys  and  other  interesting 
pets  at  pet  shows,  and  children  engaged 
in  Hallowe'en  parties,  Easter  egg  hunts, 
Christmas  programs,  etc. 

It  is  not  possible  in  such  limited  space 
to  mention  all  the  activities  pictures  that 
are  illustrated  in  this  motion  picture 
series.  However,  the  previously  mentioned 
are  only  those  which  laymen  ordinarily 


250     American  Cinematographer    •    June,  1938 


do  not  associate  with  the  modern  recrea- 
tion program.  Other  more  obvious  play 
activities,  which  are  illustrated  in  the 
pictures,  are  those  of  an  athletic  nature, 
such  as  baseball,  basketball,  football  and 
soccer. 

The  second  half  of  the  recreation  mo- 
tion picture  program  includes  what  the 
writer  thinks  of  in  terms  of  "dessert"  of 
the  program.  During  1937-8  this  feature 
has  been  "The  Trail  Song,"  which  was 
awarded  the  distinction  of  "an  outstand- 
ing non-theatrical  film  of  1937"  by  the 
Hollywood  Motion  Picture  Forum. 

Although  this  picture  will  be  described 
more  completely  in  a  later  article,  the 
writer  might  mention  briefly  that  it  is 
a  boys'  pack  trip  in  the  Yosemite  High 
Sierra. 

What  Pack  Trip  Is 

A  group  of  twenty  boys  was  selected 
from  the  previously  described  boys' 
Center,  and,  with  the  help  of  private 
funds  and  small  contributions  from  the 
boys,  the  pack  trip  was  organized. 

The  picture  starts  with  the  packing  of 
the  burros  at  Yosemite  Valley  and  con- 
tinues on  with  scenes  of  waterfalls,  camp- 
ing and  fishing  views,  night  scenes  around 
the  camp  fires,  views  of  mountain  wild- 
fiowers  and  high  mountain  scenes.  It  is 
concluded  by  an  ascent  of  one  of  the 
spectacular  snow-capped  peaks. 

Although  it  is  rather  difliicult  to  burden 
a  group  of  enthusiastic  boys  with  too 
much  picturetaking,  the  writer  did  try 
to  present  two  principal  themes  in  this 
picture.  One  was  to  make  it  as  educa- 
tional as  possible  so  that  the  audience 
could  learn  something  of  the  technique 
of  organizing  and  conducting  a  high 
mountain  pack  trip.  The  other  was  io 
bring  out  the  symphony  of  the  mountains 
by  a  series  of  varying  moods  such  as 
camping,  waterfalls,  wildflowers,  moun- 
tain peaks,  sunsets  and  night  themes. 

Visual  Recreation  and  Public  Relations 

The  result  of  this  program  is  that 
public  response  has  been  overwhelming. 
Each  year  the  program  opens  with  the 
annual  "premier,"  and  then  we  present 
a  show  at  a  meeting  of  all  the  school 
principals.  After  these  announcements 
the  Recreation  Commission  is  flooded 
with  requests  by  various  schools  and  or- 
ganizations for  the  show. 

I  once  read  the  following  quotation: 
"Art  is  not  a  thing  in  itself  but  rather 
it  is  the  nicer  way  of  doing  things."  We 
try  to  present  this  program  according  to 
that  definition.  The  pictures  are  never 
shown  without  the  writer,  who  tries  to 
keep  himself  well  informed  on  all  of  the 
department  activities. 

We  use  a  Filmosound  equipped  with 
a  phonograph  pick-up,  a  microphone  and 
mixer.  During  the  first  recreation  pic- 
tures the  speaker  presents  his  recreation 
message  over  the  sound  system. 

Vary  the  Dialogue 

We  have  never  felt  the  need  of  "sound 
on  film"  because  we  never  lend  the  films 
or  show  them  without  our  narrator.  It  is, 
therefore,  possible  for  the  narrator  to 
vary  the  dialogue  according  to  the  points 
of  interest  of  each  audience. 

For  example,  a  university  or  foruni 


group  may  be  interested  in  studying  our 
recreation  program  in  general.  The  citi- 
zens at  large  are  interested  in  knowing 
the  scope  of  the  recreation  program. 
Men's  and  women's  organizations  may  be 
anxious  to  have  a  general  program  for 
educational  or  entertainment  purposes. 

Outing  organizations  may  be  specially 
interested  in  our  municipal  camp  and  the 
trail  feature.  Of  course,  the  school  chil- 
dren should  be  informed  of  the  various 
recreation  programs  in  which  they  can 
participate. 

Public  favorable  reaction  is  indicated 
by  such  comments:  "We  had  no  idea  that 
the  City  of  San  Francisco  had  so  many 
different  kinds  of  recreation  activities," 
and  "We  did  not  realize  that  public 
recreation  activities  were  available  for 
adults  as  well  as  for  children."  These 
reactions  are  recorded  in  the  form  of 
thousands  of  most  favorable  letters  of 
praise  which  have  been  voluntarily  sent 
to  our  department. 

iiiiiiiiiiiiiiiiiiiiiiiiiiinriiiiiiiiiiiiiifiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiijiiiiiiiiiiiiiiii 

On  Opposite  Page: 

Top  Row — Left,  senior  dance  group, 
wliicli  haa  a  costume  repertoire  of  numy 
nations;  light,  the  children  ptit  on  their 

toil  symphony. 
Second  row — Left,  a  young  artist  in  wood 
carving  critically  studies  his  work;  Hght, 
in  the  handicraft  department  two  young 

artisans  create  model  aircraft. 
Third  row — Left,  the  Garden  Club  sivings 
into  action  against  the  future  day  when 
each  will  be  equipped  to  maintain  a  gar- 
den surrounding  her  own  home;  right,  a 
collection  of  puppets  to  be  exhibited  at 

the  19S9  Golden  Gate  Exposition. 
Bottom  row — Left,  example  of  a  smaller 
type  of  modern  field  house;  right,  ex- 
ample of  a  larger  type  of  modem  field 
house. 

iiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiinitiiiiiniiiiiiiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiMJiii 

The  public  relations  value  of  this  pro- 
gram gathers  immeasurable  momentum. 
Each  organization  or  group  promotes  its 
own  publicity  in  the  various  daily  and 
district  newspapers  as  well  as  in  their 
own  private  publications  and  announce- 
ments. 

It  has  already  been  mentioned  that 
sound  equipment  is  used  for  the  pres- 
entation of  the  programs.  All  the  equip- 
ment, including  the  projector,  the 
phonograph  pick-up  and  the  microphone, 
is  organized  on  one  projection  table. 

The  writer  has  selected  a  series  of  ap- 
propriate phonograph  recordings  to  sup- 
plement the  pictures  and  dialogue  with 
a  background  of  music.  An  eight-foot 
glass  bead  screen  accommodated  our 
audiences  up  to  1500  persons.  With  re- 
gards to  the  camera  equipment,  the 
writer  uses  a  Zeiss  Moviekon  16mm. 
camera  with  a  f.1.4  Zeiss  lens,  a  wide 
angle  lens  and  telephoto  lenses. 

Still  Photography 

Some  of  these  lenses  are  synchronized 
with  a  range  finder,  which  is  a  very 
worthwhile  feature.  Although  suggestions 
for  projection  will  be  illustrated  in  an- 
other article,  the  writer  might  mention 
briefly  at  this  time  that  the  fundamental 


requirements  for  good  projection  are: 

(1)  To  have  the  equipment  in  fir:-t 
class  condition.  (2)  To  have  the  equip- 
ment and  accessories  well  organized.  (.3) 
To  insist  in  ideal  auditorium  conditions, 
such  as  complete  darkness,  ideal  arrange- 
ment of  chairs,  etc. 

So  far  in  this  general  summary  of 
Visual  Recreation,  we  have  considered 
only  the  motion  picture  phase  because 
of  its  interest  to  Cinematographer  read- 
ers. However,  the  motion  picture  activity 
is  only  one  of  three  different  phases  of 
the  Visual  Department.  The  two  other 
branches  are  the  young  people's  camera 
clubs  and  the  still  picture  department. 

The  Recreation  Camera  Clubs  consist 
of  memberships  of  young  people  who 
wish  to  learn  something  about  the  sub- 
ject of  photography.  Visual  Recreation 
now  has  two  well  equipped  dark  rooms 
available. 

Also,  the  children  build  smaller  dark 
rooms  on  the  playgrounds  and  in  their 
own  homes.  They  are  keenly  interested 
in  the  subject  and  they  enjoy  great  per- 
sonal satisfaction  when  their  prints  are 
exhibited  and  sometimes  published. 
Various  Series 

The  still  picture  department  produces 
still  pictures  that  are  used  for  many- 
different  occasions  such  as  newspaper 
publicity,  magazine  articles,  and  public 
exhibition.  A  triplicate  system  of  picture 
filing  is  used. 

The  first  set  of  pictures  is  mounted  on 
a  heavy-duty  album,  and  each  album  is 
labeled  according  to  the  activities  which 
it  includes.  For  example,  in  the  main 
recreation  office,  we  have  a  series  for 
dramatics  and  music,  a  series  for  indus- 
trial recreation,  a  series  for  handicraft, 
a  series  for  the  Junior  Museum  and  a 
series  for  community  centers. 

We  are  constantly  building  up  a  more 
extensive  collection.  All  pictures  have 
labels  and  numbers.  All  numbers  corre- 
spond with  the  numbers  of  the  negative 
which  are  on  file  at  the  visual  recreation 
laboratories. 

The  second  set  consists  of  a  spare  un- 
mounted picture  for  each  negative  in  the 
files  so  that  a  request  for  a  copy  of  any 
picture  can  be  filled  on  short  notice. 
Pictures  are  ordered  by  number. 

The  third  series  of  still  pictures  Is 
preserved  in  the  form  of  a  traveling 
exhibition.  These  are  beautifully  mounted 
and  labeled,  and  are  rotated  throughout 
the  various  schools  and  interested  organ- 
izations in  San  Francisco. 

As  a  result  of  an  invitation  by  the 
editor  of  the  American  Cinematographer, 
the  writer  has  written  this  general  article 
with  the  hope  it  will  be  of  some  practical 
value  in  suggesting  an  idea  of  motion 
pictures  as  a  public  relations  medium. 

This  article  is  very  general  in  nature, 
but  the  editor  also  has  requested  other 
articles  on  color  motion  picture  pho- 
tography. 

Incidentally,  The  American  Cinema- 
tographer has  been  in  the  Camera  Club 
library  as  far  back  as  1931,  and  the 
writer  and  his  students  have  found  in 
the  magazine  most  valuable  material  for 
reference  study. 


252     American  Cinematographer    •    June,  1938 

'I  F isioned  the  Interest  of 
Children^ '  Says  Pioneer  in 
J^isual  Education  Field 
Tallying  of  Earlier  Days 

By  HERMAN  A.  DE  VRY 

Founder  and  President   of   DeVry   Corpomtion  of   Chicago,   which   company  is 
celebrating  its  twenty-fifth  anniversary 


WHEN  I  was  in  Los  Angeles  a  few 
weeks  ago  the  editor  of  The 
American  Cinematographer  was 
kind  enough  to  say  he  knew  the  readers 
of  the  magazine  would  be  interested  in 
the  rise  and  development  of  visual  edu- 
cation; that  so  far  as  he  knew  no  one 
motion  picture  man  had  been  quite  so 
close  to  that  subject  as  it  had  been  my 
privilege  to  be;  that  while  the  influence 
of  the  screen  in  the  realm  of  education 
was  today  freely  conceded  by  educa- 
tional leaders  it  was  within  his  knowl- 
edge that  not  always  was  this  the  case; 
and  that  the  reason  for  this  prevailing 
attitude  of  other  days  was  many  sided. 

When  it  was  asked  of  me  if  it  were 
not  true  that  one  of  the  reasons  was 
absence  of  mechanical  facilities,  another 
the  unwieldy  size  of  projectors,  another 
the  absence  of  educational  films,  and  still 
another  among  many  unmentioned  the 
fire  hazard  that  was  attached  to  the 
use  on  inflammable  film — there  was  no 
non-flam  then — I  was  bound  to  agree, 
and  also  to  point  out  additional  reasons 
that  had  not  been  mentioned. 

Camera  Unwieldy 
It  is  diff'icult  today  to  realize  that  in 
the  early  days  the  camera  used  by  the 
American  Biograph  Company  weighed 
2100  pounds.  Of  course  that  was  the  ex- 
ception, not  the  rule,  although  there  were 
other  cameras  that  were  heavy  even  ac- 
cording to  present  day  production  35mm. 
camera  weights. 

To  get  back  to  the  point  where  what 
is  now  described  as  visual  education 
first  began  to  ring  a  bell  in  my  head 
will  require  considerable  traveling.  And 
of  course  as  we  are  now  celebrating  our 
twenty-fifth  anniversary  in  business  we 
have  been  doing  quite  a  bit  of  reminis- 
cing, mentally  and  conversationally. 

In  1899  I  was  assistant  manager  of 
a  moving  picture  exhibition  at  the  Great- 
er America  Exposition  in  Omaha.  By 
far  the  greater  part  of  our  audience 
had  never  seen   a  motion  picture. 

Here  I  first  noticed  the  intense  inter- 
est of  the  public.  I  visioned  the  inter- 
est of  children  being  taught  by  this 
method,  and  dreamed  of  the  day  when 
motion  picture  presentations  correlating 
the  text  would  be  a  reality  in  our 
schools. 


The  idea  grew  with  the  years,  and 
practically  my  entire  efforts  from  then 
on  were  associated  with  motion  pic- 
tures and  equipment  in  one  way  or 
another. 

About  1908  I  constructed  my  first 
moving  picture  camera  and  made  many 


Herman  A.  DeVry,  President 
H.  A.  DeVry  Company,  Chicago 
A.  Briscaloff  Photo 


of  the  scenes  used  later  on  in  my 
feature  travelogue  picture  of  1910. 

During  my  entire  spare  time  I  made 
plans  for  a  really  professional  portable 
projector,  which  would  be  practical  for 
use  by  traveling  salesmen  and  by 
schools.  Such  a  projector  was  then  non- 
existent. 

Quite  a  few  attempts  had  been  made 
up  to  1912  to  produce  light-weight  and 
portable  motion  picture  projectors,  but 
all  were  both  mechanical  and  financial 
failures,  which  did  not  disturb  me  in  the 
least,  as  I  felt  then  and  know  now  that 
the  reason  of  their  failure  was  merely 
the  lack  of  high  quality  materials,  cor- 


rect designing  and  manufacturing  pre- 
cision. 

First  Model  in  Basement 

I  completed  my  first  model  of  the 
"E"  Portable  Projector  in  our  basement. 
Strange  as  it  seems,  it  worked  per- 
fectly from  the  start,  and  I  found  a 
ready  market  especially  among  the  firms 
for  which  I  had  made  industrial  films, 
and  incidentally  I  was  at  least  partly 
instrumental  in  successfully  advising  the 
industries  of  the  welcome  and  use  that 
awaited  their  films  in  the  schools. 

In  1914  I  started  a  school  department 
and  arranged  with  a  former  assistant 
superintendent  of  the  Chicago  schools  to 
take  charge.  The  results  were  indeed 
very  discouraging,  as  the  schools 
frowned  upon  motion  pictures  for  other 
than  entertainment  purposes,  which  was 
perhaps  justified  by  lack  of  suitable 
material,  and  frankly,  I  felt  guilty  to 
sell  equipment  to  schools  because  of  the 
lack  of  film  for  the  purpose. 

The  DeVry  Portable  Projector  was 
built  in  the  basement  workshop  of  my 
home.  It  was  a  proud  day  for  me,  in 
1923,  when  I  saw  the  first  DeVry  fac- 
tory, at  1111  Center  Street,  rise  to  as- 
sure me  of  the  manufacturing  facilities 
I  needed  .  .  .  and  I  am  equally  proud 
that  this  twenty-fifth  anniversary  year 
sees  our  second  factory  already  an  es- 
tablished fact. 

A  few  years  after  we  moved  into  the 
first  factory  we  started  a  producing  unit 
to  develop  the  DeVry  School  Films  with 
teachers'  manuals,  which  was  the  first 
attempt  by  anyone  in  this  direction.  The 
result  was  86  reels  of  film  constructed 
by  noted  educators  to  fit  curriculum 
needs. 

Starts  Summer  School 

A  little  later,  in  order  to  disseminate 
more  information  on  the  use  of  motion 
pictures  for  education,  we  organized  the 
DeVry  Summer  School  of  Visual  Edu- 
cation in  order  to  acquaint  those  inter- 
ested in  the  subject  with  what  was  going 
on  and  particularly  of  the  films  avail- 
able from  all  sources. 

The  rapid  growth  of  the  school  called 
for  a  change  in  name  and  function.  So 
this  was  the  origin  of  The  National  Con- 
ference on  Visual  Education  and  Film 
Exhibition,  now  the  largest  and  most 
representative  gathering  of  Visual  Edu- 
cationists in  the  world,  and  supported  by 
the  DeVry  Foundation. 

The  coming  of  sound  for  movies  did 
present  another  serious  problem,  but, 
fortunately,  we  already  had  the  best 
portable  projector  on  the  market,  and 
all  we  had  to  do  was  to  perfect  a  sound- 
head and  amplifier  that  would  perfectly 
match  it.  We  decided  from  the  outset 
to  make  our  own  sound  units,  and  not 
merely  assemble  the  product  of  other 
manufacturers,  which  made  perfect 
matching  impossible. 

After  considerable  experimenting  we 
brought  out  in  1931  the  first  really  prac- 
tical portable  sound  projector  for  35mm. 
film — the  total  equipment  weighing  78 
pounds  and  built  into  two  convenient 
size  suitcases. 

The  16mm.  film  and  the  lenses  were 
being   gradually   improved   so  that  it 


June,  1938    •    American  Cinematographer  253 


seemed  possible  that  16mm.  might  be 
of  sufficiently  good  quality  to  be  usable 
in  the  industrial  and  home  fields,  and 
we  immediately  started  to  produce  the 
first  professional  16mm.  projector — do- 
ing away  with  the  claw  or  shuttle  type 
mechanism,  and  produced  the  inter- 
mittent sprocket  16mm.  mechanism, 
which  is  superior  even  to  our  own  or  any 
other  35mm.  mechanism  ever  developed 
by  any  domestic  or  foreign  manufac- 
turer. 

Intermittent  for  16mm. 

Naturally,  the  cost  of  this  radical  de- 
parture is  many  times  that  of  a  claw 
mechanism,  but  having  spent  many  thou- 
sands of  dollars  for  special  machines 
and  tools  we  have  been  able  to  produce 
it  in  quantities  even  cheaper  than  the 


GREATLY  increased  screen  bright- 
ness and  uniformity  of  light  dis- 
tribution may  now  be  had  from 
common  types  of  picture  projector  equip- 
ments (using  tungsten  filament  light 
sources)  as  the  result  of  researches  con- 
ducted in  the  laboratories  of  General 
Electric's  incandescent  lamp  department, 
Nela  Park,  Cleveland.  Gains  in  screen 
brightness  up  to  25  percent,  in  some 
cases,  are  obtainable. 

These  facts  were  revealed  recently  by 
Nela  Park's  projection  specialist,  F.  E. 
Carlson,  in  a  paper  delivered  before  the 
Society  of  Motion  Picture  Engineers 
attending  its  semi-annual  convention  at 
Washington. 

The  new  brightness  efficiencies  spring 
not  from  the  light  source,  as  might  be 
expected,  but  from  an  "astigmatic"  lens 
used  in  place  of  a  spherical  surface  lens 
commonly  employed  in  the  optical  system 
of  the  conventional  projector. 

What  the  Nela  Park  experts  have 
achieved,  therefore,  is  to  improve  screen 
brightness  and  to  maintain  uniformity 
of  light  on  the  screen  by  the  same  means 
as  eye  specialists  employ  to  correct  for 
astigmatism  in  the  case  of  the  human 
eye. 

Existing  projector  equipments,  accord- 
ing to  the  Nela  engineers,  are  so  de- 
signed that  the  light  source  is  imaged 
well  ahead  of  the  picture  aperture. 
While  this  setup  makes  for  uniform 
screen  brightness,  it  is  not  an  ideal  one 
from  the  standpoint  of  maximum  util- 
ization of  available  light. 

Imaging  the  light  source  at  the  ideal 
position  for  obtaining  greatest  light 
utilization  results  in  an  uneven  screen 
brightness,  a  streakiness  either  vertically 
or  laterally,  depending  upon  the  posi- 
tion of  the  lamp  filament. 

By  making  one  face  of  the  optical 
system  cylindrical,  the  one  dimension  of 
the  light  source  is  focused  near  the  pic- 


standard  35mm.  mechanism  and  not 
much  higher  than  claw  mechanism  ma- 
chines, which  we  consider  a  real  accom- 
plishment in  motion  picture  engineering. 

The  real  value  of  this  16mm.  sprocket 
intermittent  probably  will  not  be  ap- 
preciated by  the  layman,  as  it  takes  a 
term  of  years  to  prove  its  lasting  quali- 
ties as  compared  with  a  claw  mechanism. 
However,  the  fact  that  no  theatre  ma- 
chine uses  the  claw  movement  ought  to 
be  convincing  evidence  of  its  weakness. 

Our  sound  activities  now  include 
public  address  systems,  and  a  full  line 
of  theatre  projectors  along  new  and 
original  lines.  We  make  also  both  a 
35mm.  and  a  16mm.  sound  recording 
camera,  so  that  with  our  silent  cameras 
and  projectors  we  can  safely  say  that 
the  DeVry  line  is  complete  for  all  pro- 


ture  aperture,  the  other  is  focused  well 
ahead.  This  technique  causes  the  uni- 
form length  of  the  filament  to  be  imaged 
nearer  the  picture  aperture  than  was 
hitherto  possible.  The  optical  system 
may  be  said  to  suffer  from  a  bad  case  of 


F.  E.  Carlson 
General  Electric's  projection  specialist 


astigmatism.  But  it  lets  the  audience 
see  brighter,  cleai-er  projected  pictures. 

In  recognition  of  this  and  other  out- 
standing contributions  to  lighting  prog- 
ress, Mr.  Carlson  recently  received  the 
highest  tribute  paid  by  General  Electric 
to  its  employes,  the  Charles  A.  Coffin 
Foundation  Award. 


jection  needs  of  school,  theatre  or  busi- 
ness firm. 

At  the  present  time  we  are  making 
plans  for  a  most  comprehensive  library 
of  sound  films  for  the  classrooms,  and 
at  a  price  which  will  warrant  their  uni- 
versal use  in  the  country  school  as  well 
as  in  the  large  cities  throughout  the 
world. 

From  present  indications  and  the  re- 
sponse and  cooperation  we  are  obtaining 
from  educational  institutions  we  do  not 
question  the  successful  culmination  of 
this  undertaking. 

Whether  the  film  venture  will  ever 
pay  or  not  we  are  glad  to  contribute  our 
share  to  the  great  cause  of  education, 
trusting  our  remuneration  to  the  adage 
"No  man  can  sincerely  help  another 
without  helping  himself." 

Mogulls  Moves  to  Larger 

Quarters  in  Radio  City 

A  new  camera,  accessory  store  and 
film  rental  library  will  be  opened  at  68 
West  Forty-eighth  Street,  Radio  City, 
New  York,  on  June  1  by  Mogull 
Brothers,  formerly  situated  at  1944  Bos- 
ton Road.  With  more  than  15,000  feet 
of  available  floor  space,  the  camera  en- 
thusiast will  have  access  to  one  of  the 
largest  and  most  complete  independent 
film,  silent  and  sound  library  in  Metro- 
politan New  York. 

The  store  will  feature  the  most  mod- 
ern equipment  and  accessories.  A  dark- 
room, completely  equipped,  will  be  avail- 
able to  its  patrons.  Facilities  will  be 
provided  for  club  meetings  and  informal 
round-table  discussions.  There  will  be 
a  technical  advisory  department  to  assist 
the  camera  user  in  solving  difficult 
photographic  problems  and  to  make 
minor  repairs  to  cameras  and  equipment. 

A  private  projection  room,  completely 
equipped,  will  be  provided  and  within  a 
few  weeks  of  the  opening  there  will  be 
a  private  studio  for  the  use  of  patrons 
without  charge.  It  is  planned  to  provide 
an  editing  department  for  the  benefit  of 
the  movie  fans  and  to  assist  in  titling 
and  correlating  of  subjects.  Here  will 
be  available  the  several  domestic  as 
well  as  foreign  publications  relating  to 
photography. 

A  feature  of  the  film  library  rental 
department  will  be  the  elimination  of  all 
red  tape  necessary  in  arranging  the  loan 
of  films.  No  membership  fee  will  be 
required  nor  any  initial  payment. 


Receipt  Is 
Acknowledged: 
With  Thanks 

Lyallpur,  India 
23rd  March,  1938 
Inclosed  please  find  my  renewal 
for  1938.  I  have  thoroughly  en- 
joyed the  magazine  and  hope  for  a 
still  greater  satisfaction  during  the 
coming  year. 

Please  acknowledge  the  receipt. 
RAMESHWAR  D.  MATHUR. 


Screen  Brightness  Is  Increased 
25  Percent  by  ''Anastigmatic '  Lens 


254      Amkiucan  Cinematograi'HKK    •    Juru;,  1938 


Cinema  Club  Sees  Elton  IValkefs 
Remarkable  'Yellowstone'  Scenic 

Amateur  Who  Is  Strong  Color  Partisan  Takes  Advantage 
of  Every  Available  Device  Used  by  Professional 
Even  to  Two  Light  Meters — Tripod  Always 
Except  in  Emergency  —  Quick  to  Take 
Chance  to  Secure  Rare  Shot 


WHEN  Elton  W.  Walker  put  on 
the  screen  his  Kodachrome 
"Yellowstone  National  Park" 
for  the  members  of  the  Los  Angeles 
Cinema  Club  at  their  May  meeting,  held 
on  the  3rd,  he  showed  them  something 
out  of  the  ordinary.  It  was  a  subject  of 
all-around  charm.  It  was  a  scenic,  too, 
beyond  a  doubt,  and  with  few  titles.  The 
absence  of  the  latter,  however,  if  it  were 
noted,  was  compensated  for  by  occa- 
sional verbal  comments  supplied  by  the 
producer. 

Photographically  the  picture  required 
no  explanatory  title  to  set  forth  the 
fact  that  it  was  executed  by  one  who 
took  great  pains  with  his  work.  As  it 
was  unrolled  on  the  screen  it  occurred 
to  the  editor  of  this  magazine  that  while 
it  was  to  be  regretted  the  readers  of 
The  Cinematographer  could  not  also  be 
privileged  to  look  upon  this  unusual  ex- 
ample of  good  photography  at  least  it 
probably  could  be  arranged  to  let  them 
know  what  manner  of  man  made  it  and 
the  manner  generally  speaking  in  which 
he  approached  the  job  and  recorded  it 
on  film. 

Professional  Bows  to  Amateurs 

We  were  thinking  at  the  time  of  the 
whole  category  of  amateurs — the  new, 
the  seasoned  and  the  advanced — and  it 
may  as  well  be  added  of  professionals, 
too.  It  just  happens  that  within  the 
last  month  this  writer  has  heard  one 
of  the  Hollywood  ranking  professionals 
referring  to  his  exploits  in  sub-standard 
film  suggest  that  when  he  was  asked  to 
project  some  of  his  work  at  an  amateur 
club  meeting  he  hesitated. 

"You  know,  it  just  happens,"  he  ex- 
plained, "I  have  seen  examples  of  some 
of  those  boys'  stuff.  It  may  be  a  pro- 
fessional naturally  is  critical  of  another's 
work,  but  also  he  appreciates  what  is 
good  even  more  keenly  possibly  than  will 
or  can  an  amateur.  And  I  know  a  num- 
ber of  these  amateurs  have  got  plenty 
on  the  ball  in  that  sub-standard  film." 

And  so  it  seems  has  this  man  Walker. 
But  as  was  disclosed  a  week  later  at  a 
visit  to  his  home  in  a  Los  Angeles  suburb 
he  is  one  who  takes  advantage  of  every 


By  GEORGE  BLAISDELL 


device  of  which  advantage  is  taken  by 
the  professional. 

Of  course  he  has  been  photographing 
stills  for  many  years.  Out  of  the  many 
or  several  brands  of  cameras  he  has 
owned  he  has  settled  down  to  a  Leica 
and  an  Exakta.  He  is  the  master  of 
his  own  developing,  printing  and  en- 
larging equipment,  and  he  has  a  fine  col- 
lection of  salon  prints  of  the  members  of 
his  family  and  of  friends.  These  prints 
bear  the  stamp  of  the  man  who  makes 
his  preparations  before  exposing  his 
film. 

And  speaking  of  exposure  the  ques- 
tion was  asked  as  to  his  attitude  toward 
light  meters. 

"I  have  two  General  Electrics,"  was 
the  reply.  "And  when  on  tour  or  let  us 
say  when  I  am  away  from  home  I  al- 
ways have  them  with  me.  That  may  io 
many  seem  like  an  extravagance,  but  it 
is  my  experience  it  is  a  wise  bit  of  in- 
surance. 

"Suppose,  for  example,  when  one-half 
of  the  800  feet  in  'Yellowstone'  had  been 
exposed  and  through  some  happening 
my  meter  should  fall  and  be  put  out  of 
business.  If  also  it  happened  that  I 
had  no  other  meter  that  I  knew  checked 
with  it  I  would  be  hard  pushed  to  match 
what  already  had  been  exposed. 

"But  if,  as  is  the  case  with  me  now,  I 
knew  I  had  another  meter,  and  one  that 
I  have  at  various  times  checked  and 
found  both  of  my  meters  exactly  match, 
I  would  have  no  concern  other  than  the 
loss  of  the  cost  of  repairs  or  replace- 
ment. 

When  Meter  Drops 

"I  dropped  one  meter  or  had  one  drop 
to  the  ground  and  put  out  of  business 
when  the  threads  in  the  supporting  strap 
without  warning  unaccountably  gave 
way.  When  that  thing  happens  hun- 
dreds of  miles  from  a  source  of  supply 
it  is  more  than  just  too  bad.  To  an  ambi- 
tious photographer  taking  his  work  seri- 
ously it  also  is  pretty  serious. 

As  to  equipment  Mr.  Walker  has  been 
using  a  Cine  Kodak  Special  practically 
since  it  came  upon  the  market,  four  or 
five  years  ago. 

The  use  of  tripods  was  mentioned. 


"Never  without,  unless  in  what  I  would 
call  an  absolute  emergency,"  was  the 
emphatic  reply. 

The  talk  turned  to  the  value  of  sun- 
light in  shooting  Kodachrome. 

"Personally,"  suggested  Mr.  Walker, 
"in  color  work  I  always  try  to  keep 
away  from  full  sunlight  if  I  can.  I  like 
my  shadows  with  the  sun.  In  shooting 
geysers,  as  I  have  been  for  three  suc- 
cessive seasons  in  Yellowstone,  I  put  as 
much  backlighting  behind  them  as  I 
can  without  getting  directly  into  the 
rays  of  the  sun." 

The  interviewer  told  of  the  remark 
made  to  him  not  long  since  by  a  pro- 
fessional in  which  belief  was  expressed 
it  was  easier  to  shoot  in  color  than  in 
black  and  white. 

"I  do  not  agree  with  your  friend," 
said  Mr.  Walker.  "In  the  first  place 
your  exposure  must  be  more  exact.  It 
has  got  to  be  right.  With  black  and 
white  wrong  exposure  up  to  a  certain 
point  can  be  corrected." 

Taking  a  Chance 

"Do  you  agree  with  the  suggestion 
that  some  of  the  more  striking  photo- 
graphs are  obtained  because  the  one 
who  exposed  them  was  something  of  a 
gambler,  was  bold  enough  to  take  a 
chance,  to  fly  in  the  face  of  the  ortho- 
dox and  the  conventional,  so  to  speak?" 
was  asked. 

"Decidedly,  yes,"  was  the  answer.  "I 
have  in  mind  an  experience  in  the  Inter- 
national Settlement  when  I  set  out  to 
photograph  a  sorority  gathering.  Pre- 
sumably it  was  ideal  for  Kodachrome,  as 
the  members  were  garbed  in  different 
and  many  colored  costumes. 

"But  the  day  was  very  cloudy  and  it 
was  necessary  the  pictures  be  taken  in 
the  patio.  It  was  a  chance,  and  it  was 
taken.  The  pictures  turned  out  to  be 
exceptionally  good,  with  very  fine  color. 

"Really,  sunshine  is  not  always  needed. 
And  it  is  surprising  what  may  be  ob- 
tained in  color  on  a  dull  day." 

In  photographing  the  Yellowstone  pic- 
ture shown  at  the  Cinema  Club  meeting 
Mr.  Walker  spent  about  a  third  of  the 
month  he  was  there,  August,  last  year. 
In  the  two  reels  were  quite  a  number 


June,  1938    •    American  Cinematographer  255 


Here  are  enlargements  of  16mm.  kodachrome  from  Elton  Walker's  "Yellowstone."  On  the  left  we  see  Turquoise  Pool  and  on 

the  right  Sapphire  Pool. 


of  animals,  including  moose,  cow  elk, 
antelope,  bear  and  a  few  deer,  the  latter 
of  which  are  not  plentiful  in  Yellowstone 
and  the  few  which  are  there  very  timid. 

"One  of  the  chief  essentials  in  photo- 
graphing- wild  animals  is  patience,"  de- 
clared Mr.  Walker.  "Another  is  slow 
movement  on  the  part  of  the  human  or 
humans  who  may  be  camera  hunting. 
Six  Hours'  Waiting 

"To  get  the  pictures  you  saw  of  the 
moose  sequence  I  had  to  wait  fully  four 
hours.  There  were  other  long  waits  rep- 
resented in  those  animal  scenes.  And 
speaking  of  patience  I  used  six  hours 
camping  on  the  trail  of  one  of  the  gey- 
sers waiting  for  an  eruption.  Of  cour.se, 
these  maintain  more  or  less  of  a 
schedule,  but  you  can't  always  lean  on  it. 

"Regarding  the  necessity  for  i^ioving 
slowly  when  trying  to  photograph  wild 
animals  I  recall  an  experience  in  North- 
ern Michigan,  where  the  deer  are  wild. 
I  spotted  one  the  picture  of  which  I 
wanted.  The  animal  was  standing  in  a 
stream  drinking,  occasionally  lowering 
his  head  to  the  water. 

"Each  time  he  did  so  I  moved  a  few- 
feet  nearer.  I  got  what  I  wanted.  Had 
I  moved  fast  the  animal  would  have 
bounded  away.  Yes,  it  is  surprising 
how  close  you  can  get  to  animals  if  you 
take  your  time.  A  couple  of  years  ago, 
in  Yellowstone  also,  by  the  way,  I  got 
some  good  pictures  of  woodchucks." 

The  speaker  chuckled.  "Then,  too, 
there  are  pictures  you  badly  want  and 
can't  have  because  perhaps  your  camera 
is  all  packed  up.  You  had  thought  you 
were  through  for  the  day,"  he  con- 
tinued. 

"  I  am  thinking  of  an  incident  last 
year  when  I  threw  a  marshmallow  to  a 
ground  squirrel.  It  was  my  belief  he 
would  no  more  than  sniff  it  and  walk 
away.  Instead  he  put  it  in  his  mouth. 
Right  away  it  stuck  to  his  teeth.  He 
certainly  was  one  worried  squirrel.  It 
was  most  apparent  he  liked  the  candy 
but  not  where  it  was. 

"In  his  contortions  gradually  his  head 
was  raised.  It  came  up  so  high  his 
forefeet  were  in  the  air.  Steadily  the 
head  was  raising  as  it  twisted  and  turned 


in  the  effort  to  free  the  teeth.  All  the 
time  I  was  so  concerned  on  not  being 
able  to  put  it  on  film  my  appreciation  of 
the  unusual  spectacle  was  decidedly  di- 
minished. 

Squirrel's  Back  Flip 

•'"Suddenly  the  squirrel  went  over 
squarely  on  his  back.  For  a  flash  he 
lay  there,  apparently  bewildered.  Then 
he  rolled  over,  bounded  to  his  feet  and 
like  a  streak  was  off,  his  head  still  twist- 
ing. That  was  one  of  the  experiences 
you  don't  easily  forget." 

Asked  as  to  how  much  of  the  Yellow- 
stone picture  he  had  found  it  necessary 
to  discard  Mr.  Walker  replied  that  un- 
necessary footage  was  very  slight.  He 
had  shortened  a  few  sequences,  elimi- 
nated some  duplications.  "Of  course, 
you  have  to  take  things  as  they  come 
along,"  he  explained.  "A  person  does 
not  have  to  throw  out  much  film  if  he  is 
careful." 

One  of  the  major  features  of  the 
Yellowstone  picture  is  the  color  of  the 
water  in  the  pools.  At  times  its  clear- 
ness is  outstanding  on  the  screen.  It 
changes  from  an  almost  transparent 
light  blue  to  an  impenetrable  dark  green. 
This  was  partly  due,  it  was  explained, 
to  the  algae  in  the  water  or  to  the  tem- 
perature of  the  water. 

If  the  surface  of  the  pool  is  disturbed 
by  ripples  no  good  color  will  be  recorded. 
Then  again  blue  sky  has  plenty  of  in- 
fluence in  accentuating  the  color  in  the 
pools. 

"In  some  pools  you  can  see  down 
twenty  or  thirty  feet,  but  if  the  surface 
is  rippled  you  can't,"  Mr.  Walker  con- 
cluded. 

"I'll  admit  my  partiality  for  color  as 
against  black  and  white.  In  the  repro- 
ductions of  those  pools  may  be  found 
one  of  my  reasons  perhaps  for  so  feeling 
about  film.  Color  seems  to  do  what 
would  be  out  of  the  question  for  black 
and  white. 

"As  a  comparison  subject  look  at  a 
good  picture  of  Bryce  Canyon  in  black 
and  white  and  then  at  a  good  picture  of 
it  in  Kodachrome.  I  think  I  would 
rest  my  preference  for  color  on  that 
test." 


La  Casa  Moviemakers, 
Alhambra 

The  La  Casa  Movie  Makers  of  Al- 
hambra held  the  May  meeting  on  the 
16th.  Eighty  members  and  g-uests  were 
in  attendance. 

A  feature  of  the  evening  was  pre- 
sented by  E.  C.  Boger.  who  showed  sev- 
eral thousand  feet  of  pictures  made  in 
Africa.  The  natural  life  was  well  de- 
picted and  some  thrilling  shots  of  animal 
life  were  screened.  The  doctor  is  a  real 
16mm.  enthusiast  and  has  developed  real 
talent  in  motion  pictures. 

Some  of  our  members  ran  the  pictures 
made  last  meeting  of  the  dance  artists 
of  the  Fanchon  Marco  studio.  Good  re- 
sults were  obtained. 

A  fine  film  of  Death  Valley  in  16mm. 
color  and  several  reels  of  8mm.  taken 
in  Zion  and  Bryce  were  shown  by  other 
members. 

The  next  meeting  was  advanced  to 
June  6  on  account  of  the  approaching 
vacation  season.  For  the  same  reason  the 
July  and  August  meeting  will  be  omitted 
and  the  group  will  hold  the  first  fall 
meeting  in  September. 

R.  A.  BATTLES, 
Chairman  Publicity  Committee. 


Columbia's  Broadcasting 

Chief  Host  to  Sound  Men 

L.  H.  Bowman,  Western  Division  En- 
gineer of  the  Columbia  Broadcasting 
System,  escorted  the  sound  department 
directors  of  the  niajor  studios  through 
the  new  KNX  broadcasting  station  and 
the  CBS  plant  May  24. 

The  visit  was  made  under  the  aus- 
pices of  the  Research  Council  of  the 
Academy  of  Motion  Picture  Arts  and 
Sciences,  and  preceded  by  several  weeks 
a  general  meeting  of  the  sound  sec- 
tion of  the  technicians  branch,  at  which 
time  Bowman  will  play  host  to  all 
studio  sound  technicians  who  are  mem- 
bers of  the  Academy  technicians  branch. 

William  Koenig,  Chairman  of  the  Re- 
search Council,  will  also  attend  as  a 
guest  of  the  Sound  Directors  group. 


256     American  Cinematographer    •    June,  1938 


Littles '  Subscription  Evenings  End 
Good  Year  and  Pl^ill  Continue 

By  DUNCAN  MacD.  LIITLE 


THE  Eighth  (and  last  for  the  Sea- 
son 1937-8)  of  the  subscription 
series  of  Motion  Picture  Evenings, 
arranged  by  Mr.  and  Mrs.  Duncan  MacD. 
Little  and  Thomas  H.  S.  Andrews,  was 
held  May  7. 

It  was  gratifying,  so  late  in  the  sea- 
son, and  on  a  Saturday  evening,  that 
the  attendance  at  the  screening  exceeded 
the  average  and  approached  the  maxi- 
mum of  the  series. 

The  program  for  this  last  screening 
was,  with  one  exception,  entirely  Mexi- 
can, and  consisted  of: 

"The  Grinning  Gringo,"  Douglas  Fair- 
banks' first  film,  released  in  1917  by 
Triangle. 

"Anitra's  Dance,"'  a  modernistic  "ab- 
stract" adaptation  of  this  dance  from 
the  "Peer  Gynt  Suite"  by  Grieg. 

"Death  Day,"  by  S.  Eisenstein.  A  pic- 
turization  of  the  Mexican  peon's  method 
of  celebrating  the  combined  church  fes- 
tivals of  All  Souls'  Day  and  All  Saints' 
Day. 

Fairbanks'  Silent 

"The  Wave,"  a  story  of  Mexican  fisher- 
men of  the  present  day,  produced  under 
governmental  auspices,  and  superbly 
photographed  by  Paul  Strand. 

The  Fairbanks  film  was  the  only  silent 
number  on  the  program.  This  was  set 
to  music  by  Elfriede  B'oerner,  who 
treated  the  theme  with  all  seriousness, 
using  selected  bits  from  a  dozen  or  more 
of  the  world's  most  famous  overtures, 
with  the  result  that  the  tenseness  and 
seriousness  which  the  director  had  sought 
to  bring  out  was  travestied  to  the  nth 
degree. 

In  "The  Grinning  Gringo"  it  was  diffi- 
cult, even  for  those  whose  memories  in- 
cluded the  pictures  of  "pre-war  days," 
to  realize  this  was  a  "feature  film."  It 
was  difficult  to  decide  if  what  was  seen 
on  the  screen  was  just  poor  processing 
or  that  it  was  what  we  used  to  see  and 
think  good.  The  same  remarks  apply  to 
the  acting  and  to  the  wording  of  the 
captions  and  sub-captions  also.  In  the 
light  of  1938  features  (and  shorts,  too) 
it  was  "pretty  awful.'" 

Disappointing 

"Anitra's  Dance"  was  somewhat  dis- 
appointing. We  are  much  interested  in 
these  "sight  and  sound"  abstractions, 
but  felt  that  no  effect  was  created  in 
the  development  of  this  particular  at- 
tempt. It  compared  in  no  way  with  some 
others  that  we  have  seen,  particularly 
one  which  we  saw  this  last  season,  pro- 
duced some  time  back  by  those  clever 
workers  in  the  British  G.P.O.  group. 

"Death  Day"  would  be  almost  grue- 
some but  that  the  peons  so  evidently 
took  it  "in  their  stride"  and  somewhat 
as  a  matter  of  course.   In  parts  it  was 


even  merry,  and  throughout  it  was  well 
photographed. 

"The  Wave"  has  been  so  well  reviewed 
by  so  many  capable  reviewers  that  we 
hesitate  to  express  our  opinions.  Suffice 
it  that  we  would  prefer  to  have  no  prop- 
aganda in  our  films — but  would  rather 
they  pursue  a  middle  course  of  sticking 
to  "facts  as  they  are"  and  let  those  in 
the  audience  draw  their  own  conclusions. 
Evenings  a  Success 

Also  let  it  suffice  that  Strand  shows 
himself  a  master  cameraman  and  an 
artist  of  no  mean  stature — every  shot 
and  scene  is  composed  by  a  master  hand. 


ANEW  photo-electric  exposure 
meter,  compact  and  simple  to  use, 
has  been  announced  by  the  Wes- 
ton Electrical  Instrument  Corporation, 
Newark,  N.  J.  Known  as  the  Weston 
.Junior,  the  meter  is  lower  in  price  than 
other  Weston  models,  yet  provides  de- 
pendable exposure  settings  for  all  normal 
picture-taking  requirements. 

It  employs  the  same  type  of  stable 
photronic  cell  (electric  eye)  and  sensi- 
tive instrument  movement  used  in  the 
Weston  Universal  and  Cine  meters.  The 
Junior  is  expected  to  appeal  particularly 
to  miniature  camera  users  and  other 
amateurs  anxious  for  vest-pocket  size 
without  sacrifice  of  accuracy  or  depend- 
able operation. 

The  new  meter  has  a  circular  cell 
window  on  one  side,  designed  to  cover  a 
uniform  angle  of  view,  comparable  to 
that  covered  by  the  normal  camera  lens. 
On  the  opposite  side  of  the  meter  is  a 
full  vision  dial.  Thus,  when  the  meter 
is  held  in  viewing  position,  the  user  can 
take  the  readings  while  keeping  an  eye 
on  the  scene  he  plans  to  photograph. 

Light  values  as  measured  by  the  elec- 
tric eye  are  shown  by  a  pointer  moving 
over  the  lower  scale  on  the  dial,  which 
is  marked  off  in  24  divisions.  Actually, 
these  divisions  correspond  to  a  difference 
of  one-half  an  "f"  stop  in  aperture  set- 
tings, permitting  the  close  regulation  of 
exposure  so  necessary  in  work  with 
color  films. 

Above  the  meter  scale  there  is  a 
movable  "calculator  band,'"  operated  by 
a  knurled  knob  at  the  top  of  the  meter. 
Turning  this  knob  permits  rapid  deter- 
mination of  all  possible  aperture  shutter 
combinations  for  any  particular  light 
value  and  film  speed. 

Provision  is  made  for  17  film  speed 


This  series  of  Subscription  Evenings 
has  proved  a  success.  It  was  started 
experimentally,  and  it  was  hoped  the 
season  might  be  finished  with  no  deficit. 
This  was  accomplished,  and  it  was  pos- 
sible to  cover  the  costs  also,  of  a  "trial 
screening"'  at  which  the  plan  was  pro- 
posod  by  the  sponsors  to  a  group  of 
their  friends.  There  was  even  a  trifle 
over  after  all  bills  were  paid — far  better 
than  figures  "in  the  red." 

By  this  series  it  has  been  proved 
there  is  evident  interest  among  many 
persons  in  the  serious  and  capable  ama- 
teur film,  and  in  documentaries  and  in- 
dustrials also. 

The  interest  has  been  such  that  the 
sponsors  intend  to  continue  in  the  sea- 
son 1938-9,  and  will  shortly  send  out  an 
anouncement  to  those  interested.  If  any 
readers  of  this  magazine  would  care  to 
receive  this  announcement  it  is  sug- 
gested they  write  to  Mr.  Little,  in  care 
of  The  Cinematographer. 


ratings  from  0.7  to  200  Weston,  meeting 
all  present  or  future  requirements  of 
super-speed  films.  There  are  17  aperture 
stops  from  f:2  to  f:32,  and  27  shutter 
speed  settings  from  60  seconds  to  1/1000 
second.  The  non-applicable  values  are 
concealed  under  the  scale  plate,  reduc- 
ing the  possibility  of  erroneous  readings. 

Sensitivity  of  the  new  meter  to  low 
light  values  is  such  as  to  provide  read- 
ings where  camera  settings  down  to  f:2 
and  1/.5  second  are  required  on  ordinary 
film.  At  the  high  end  the  most  brilliant 
beach  and  snow  scenes  remain  within 
the  meter  range  without  the  use  of 
multipliers  or  adapters. 

The  new  Junior  is  not  expected  to 
supplant  the  Universal  (Model  6.50)  in 
the  hands  of  more  experienced  photog- 
raphers to  whom  the  flexibility  of  the 
calculator  dial  for  interpreting  "bright- 
ness range"  measurements  and  the  like 
makes  its  chief  appeal.  For  most  camera 
users,  however,  it  offers  compact  sim- 
plicity for  the  great  proportion  of  the 
pictures  they  take. 

T 

Japanese  1937  Production 

Gains  Slightly  Over  1936 

The  April  issue  of  The  Movie  Times, 
Japanese  monthly  motion  picture  maga- 
zine, contained  the  following  statistics 
covering  the  Japanese  motion  picture 
industry  during  1937,  reports  the  office 
of  the  American  Commercial  Attache 
at  Tokyo. 

The  advance  of  the  Japanese  motion 
picture  industry  is  more  clearly  indi- 
cated when  output  in  1937  is  compared 
with  output  in  1935.  Production  in  1935 
totaled  444  films,  including  133  talkip= 
133  sound  and  178  silent  films.  The 
total  produced  in  1937  gained  by  155 
films  over  1935. 


Pl^ !ston  Issues  Junior  Type  for 
Amateurs  Seeking  Smaller  Meter 


June,  1938    •    American  Cinematographer  257 


Ifs  'The  Plan  s  the  Thing '  //  You 
Seek  to  Insure  Better  Pictures 


SHAKESPEARE  in  one  of  his  dramas 
said  "The  play's  the  thing."  To 
paraphrase  this  a  little,  "The  plan's 
the  thing"  to  the  amateur  movie  fan. 
When  making  such  a  statement  I  am 
not  referring  so  much  to  a  strictly  va- 
cation picture  as  I  am  to  a  combina- 
tion vacation  and  home  movie  or  to  an 
exclusive  home  movie. 

My  excuse  for  this  article  is  that  I 
won  first  prize  in  the  Los  Angeles  8mm. 
Club  annual  contest  in  1937  and  Bill 
Stull  insisted  I  tell  where  the  idea  canie 
from  and  how  it  was  filmed. 

I  had  been  thinking  for  a  month  how 
to  make  an  interesting  picture,  with 
continuity,  of  a  vacation  to  Cedar 
Breaks,  Bryce,  Zion  and  Grand  Canyon 
of  the  Colorado  which  we  were  going 
to  take  very  soon.  What  to  do  with 
rolls  and  rolls  of  vacation  film  is  the 
Jonah  of  many  an  amateur,  and  this 
was  probably  made  more  difficult  by 
having  four  different  places  to  get  to 
and  away  from  in  some  logical  but  not 
tiresome  manner. 

One  night  as  I  was  getting  into  my 
pajamas  (not  the  bright  blue  ones  of 
the  picture!)  I  thought:  Why  not  dream 
of  the  vacation.  Sitting  on  the  edge 
of  the  bed  the  whole  plan  was  written 
down  in  a  short  time.  The  finished  pic- 
ture consisted  of  400  feet  of  8mm.  film 
in  Kodachrome  and  the  plot  is  roughly 
as  follows. 

Where  to  This  Summer? 

At  the  dinner  table  Mrs.  Walter  and 
I  argue  about  where  we  shall  go  on 
our  vacation.  Telling  her  to  wash  the 
dishes,  (she  did  wash  'em  for  the  cam- 
era!) I  found  and  looked  at  a  bunch 
of  maps  and  vacation  folders.  Inter- 
spersing shots  of  dishwashing  and  map 
looking,  I  finally  yawned  and  went  to 
sleep  looking  at  a  colored  picture  of 
Cedar  Breaks,  in  a  Union  Pacific  pam- 
phlet. Then  a  fade  out  and  into  the  same 
scene  at  Cedar  Breaks. 

After  all  shots  taken  were  shown  a 
fade  out  back  to  Mrs.  Walter  just  fin- 
ishing the  dishes.  Taking  off  her  apron, 
she  went  into  the  living  room  and  shook 
me  awake.  I  mention  that  we  might  go 
to  Bryce  and  Grand  Canyon  and  walk 
out  of  the  scene  pulling  off  my  necktie. 

The  next  shot  I  climb  into  a  twin  bed 
(in  those  blue  pajamas)  and  fumble  the 
light  out.  Fade  into  Bryce  and  its  beau- 
ties, a  wipe  out  to  me  in  bed  turning  over 
restlessly  and  another  wipe  to  Grand 
Canyon. 

In  the  final  view  of  the  wonders  of 
the  Grand  Canyon,  I  stand  on  the  edge 
of  a  precipice  and  while  looking  through 
a  pair  of  binoculars  become  overbalanced 
and  fall  over  the  cliff  out  of  sight. 


By  JOHN  WALTER 

A  title  "Help"  fills  the  screen  when 
the  lights  are  turned  on  by  Mrs.  Walter 
showing  me,  only  one  foot  in  view,  on 
the  floor  between  the  twin  beds.  I  am 
carefully  helped  up,  consoled  and  sym- 
pathized with,  and  tucked  back  into  bed. 
Then  a  fade  out  to  "The  End." 

Dummy    Took  Rap 

Confidentially,  I  only  fell  down  about 
six  feet  when  I  went  off  the  cliff  and 
a  dummy  nicknamed  "Charlie  McCarthy" 
went  the  other  thousand  feet  or  so.  It 
made  an  exciting  climax  for  the  finish 
of  the  picture. 

Naturally,  titles  were  made  and  in- 
serted for  the  explanation  of  the  scenic 
views  shown  and  what  Mrs.  Walter  and 
I  said.  For  a  name  I  borrowed  from 
Shakespeare  again  and  called  it,  "A 
Midsummer  Night's  Dream." 

My  basic  idea  came  from  the  usual 
and  commonplace,  going  to  bed,  sleep, 
dreaming,  vacationing.  But  it  is  these 
commonplace  things  that  happen  to  us 


all  in  our  ordinary  and  usual  mode  of 
living,  touched  with  glimpses  of  humor, 
that  have  more  audience  appeal  than 
fanciful  ideas  and  settings  beyond  the 
scope  of  us  amateurs. 

We  are  greatly  limited  in  the  creat- 
ing of  pictures,  but  if  these  limita- 
tions are  realized  an  appealing  and  in- 
teresting picture  can  still  be  made. 

Now  and  then  I  read  an  article  by 
someone  who  asserts  that  it  is  not  neces- 
sary to  have  a  written  plan  or  script 
to  make  an  interesting  picture  with  plot 
and  continuity.    I  am  not  of  that  class. 

If  I  want  to  shoot  a  picture,  good, 
not  only  from  the  standpoint  of  expo- 
sure, lighting,  or  composition,  but  for 
continuity  audience  appeal  and  economy 
of  film,  I  figure  out  the  general  idea 
and  then  write  a  script. 

In  this  script  or  scenario  I  number 
each  scene  and  set  out  what  each  actor 
is  to  do  and  where  it  is  to  be  done. 
This  scene  description  is  very  brief  and 


'Twas  on  a  Sunday 
afternoon,  by  Sherwood 
Lake,  location  spot,  where 
the  Los  Angeles  8mm. 
Club  was  putting-  on  an 
outing.  The  party  was 
breaking  up  after  a  great 
day  in  meadow  and  in 
mountain  field. 

It  occurred  to  Ye  Ed 
that  on  his  desk  back  in 
town  was  a  story  by  John 
Walter  minus  a  picture  to 
go  with  it.  Unthinkable, 
was  it  not?  It  was. 

Timidly — Ye  Ed  always 
is  timid  when  near  these 
Prize  Winners  —  Ye  Ed 
suggested  a  shot,  but 
Walter  pleaded  his  camera 
was  packed. 

"Take  mine,  John,"  said 
Cadaret,  and  then  to  Ye 
Ed  he  added: 

"Don't  take  his  alibi." 

Now  John  being  a 
lawyer  is  afraid  of  alibis, 
so  down  to  the  water  we 
went — and  the  still  camera 
moved  and  the  moving 
camera  was  still  —  the 
while  John  looked  at  a  big 
mountain  as  if  about  to  do 
something  important. 

And  then  Ye  Ed,  rating 
just  a  maybe  photog- 
rapher, and  also  of  course 
knowing  something  about 
alibis  himself,  started 
home,  wondering  which 
one  he  would  use  when 
John  saw  the  picture. 


258     American  Cinemat<)(;kai'her    •    June,  1988 


contains  only  the  general  action  con- 
templated. 

The  finer  points  regarding  individual 
movements,  expressions,  and  poise  can 
be  settled  in  running  through  the  scene 
just  before  it  is  taken.  This  is  where 
your  individual  ability  as  a  director  will 
be  given  the  acid  test. 

It  is  quite  important  that  the  scenes 
be  kept  to  such  a  length  that  your 
camera  will  not  run  down  before  it  is 
all  taken.  A  little  thought  will  dis- 
close an  end  or  break  where  every  scene 
will  logically  end  but  will  still  merge 
into  the  next  scene  in  a  smooth  manner. 

I  write  down  the  lines  for  the  actors 
and  insert  them  between  the  scenes  of 
the  script  for  future  titles.  The  lines 
should  actually  be  spoken  by  the  actors 
as  your  seasoned  audience  will  be  watch- 
ing their  lips.  Put  some  time  and  ef- 
fort in  making  these  titles  because  care- 
lessly made  titles  detract  a  great  deal 
from  a  good  picture  and  add  much  to 
one  which  is  a  little  under  par. 


In  your  editing  be  careful  to  make 
your  plot  complete  so  your  future  audi- 
ence can  follow  it  through  to  finish — 
complete,  but  not  too  obvious.  Nothing 
is  worse  than  to  lose  the  thread  of  the 
story  and  so  end  not  understanding  it 
at  all. 

But  where  does  one  get  the  basic 
idea  ?  They  are  all  around  us,  in  such 
simple  form  usually  that  we  ignore  or 
pass  them  over  without  a  thought  of 
what  a  fine  picture  they  would  make. 
Two  Real  Examples 

A  poem  you  have  read,  a  short  story, 
an  idea  from  your  newspaper,  personal 
adventures  of  your  friends.  All  these 
can  be  elaborated  upon  and  made  into 
a  picture  interesting  to  film  and  to  see. 
Let  me  give  you  some  examples. 

Dr.  Robert  Loscher.  winner  of  19.35 
Grand  Prize,  adapted  his  scenario  from 
a  poem  written  by  a  friend  of  his.  The 
result,  "Red  Cloud  L'ves  Again,"  was 
a  marvelous  picture  of  Indians,  pioneers 
and  wagon  trains.    The  scarcity  of  his 


props  would  astound  you. 

Another  Grand  Prize  winner,  Ran- 
dolph Clardy,  recently  showed  a  fifty- 
foot  reel  called  "It  always  rains  on 
Sunday."  It  depicted  the  restless  and 
impatient  actions  and  wanderings  of  a 
golf  addict  about  the  house  when  Sun- 
day came  and  with  it  also  plenty  of 
rain. 

The  point  I  want  to  stress  is  that 
you  would  do  and  act  the  same  as  this 
disappointed  fellow  and  you  probably  do. 
Seeing  someone  else  do  the  same  futile 
and  silly  nothings  that  you  yourself  do 
gives  you  more  amusement  and  creates 
more  interest  than  anything  else  that 
can  be  shown. 

Good  ideas  are  all  around,  but  don't 
look  too  far  away  to  find  them.  After 
you  find  the  idea  write  it  down  in  sim- 
ple detail.  You  will  be  surprised  how 
you  add  to  it  and  improve  it  before 
it  is  in  the  can. 

P-ssss-t,  has  anybody  got  an  idea  for 
a  vacation  ? 


Problem  of  Filters  Simplified  by 
Reducing  Number  to  Three  or  Two 


FILTERING— professional  and  ama- 
teur— is  a  phase  of  photography 
which  has  been  badly  abused.  For 
various  reasons  certain  so-called  "ex- 
perts'" have  tried  to  make  it  compli- 
cated. Of  course,  it  is  all  very  well 
for  some  of  these  professional  "photo- 
graphic experts"  to  try  to  make  a  mys- 
tery out  of  filtering. 

It's  their  stock  in  trade.  But  treating 
the  matter  of  using  filters  as  a  huge 
mystery  doesn't  give  much  help  to  Mr. 
Average-man-with-a-cameia,  who  wants 
pictures,  not  problems. 

Really,  the  whole  thing  is  simple 
enough  once  you  stop  and  think  of  what 
filters  do  and  how  and  why  they  do  it. 


By  WILLIAM  STULL,  A.  S.  C. 

The  whole  question  is  based  on  the 
fundamental  fact  that  our  eyes  see  col- 
ors in  one  way,  and  a  photographic  film 
"sees"  the  same  colors  in  a  different  way. 
This,  of  course,  is  quite  aside  from  the 
fact  that  our  eyes  see  colors  as  colors, 
while  black-and-white  films  see  them  as 
a  range  of  blacks,  whites  and  interme- 
diate grays. 

To  the  eye  the  yellows  and  reds  are 
the  most  biilliant  colors.  To  the  film — 
even  the  most  modern  super-panchro- 
matic types — the  most  brilliant  colors 
are  the  blues  and  the  invisible  ultra- 
violet. 

Basically,  photographic  filters  exist  for 
the    purpose    of   equalizing   these  dis- 


crepancies;  to  make  the  film  "see"  a 
scene  more  nearly  as  the  eye  sees  it. 
Simple  Enough 

That's  simple  enough;  but  how  can  a 
bit  of  colored  glass  or  gelatin  do  this? 

All  motion  picture  films  are  inherently 
most  sensitive  to  ultia-violet  and  blue 
light.  Positive  film,  and  several  of  the 
very  cheap  "color-blind"  emulsions  are 
scarcely  sensitive  to  any  other  colors. 
The  "chrome"  types,  like  Plenachrome, 
have  had  their  sensitivity  extended  up 
through  the  greens,  yellows  and  to  some 
extent  into  the  orange  region. 

Our  modern  pan  and  superpan  emul- 
sions have  had  their  sensitivity  pushed 
still  farther  up,  into  the  red  region.  They 


You  can  <j<:t  (in  ample  ran(/e  of  effects  witli  onli)  two  filters.  Here's  how  the  same  scene  looked  to  icj/nlar  ICmm.  "pan"  film 
first  with  no  filter  (left),  then  with  a  medium  yellow  filter  (K-2,  center)  and  last  ivith  a  deep  red  filter  (29-F).  The  illustra- 
tions are  frame  enlargements  from  a  Kimm.  film  exposed  seven  or  eight  years  ago  and  projected  many  times  since.  The  frame 
enlargement  is  Richter. 


June,  1938    •    American  Cinematographer  259 


What  filters  can  do  to  faces  and  costumes.  Left,  "pan"  film,  no  filter;  right,  heavy  red  filter  (29-FJ.  Notice  the  change  in 

rendition  of  the  red  dress  and  in  face  and  lips. 


can  "see"  all  of  the  visible  spectrum — 
but  they  still  have  a  marked  preference 
for  blue  and  ultra-violet. 

With  a  rare  few  exceptions,  then,  all 
of  the  commonly  used  types  of  cine-film 
are  sensitive  to  a  greater  or  lesser  range 
of  visible  colors,  but  all  have  an  inherent 
preference  for  blue  and  ultra-violet.  If, 
then,  in  some  way  we  reduce  or  perhaps 
eliminate  the  amount  of  blue  and  ultra- 
violet reaching  the  film,  we  ought  to 
get  a  picture  more  nearly  like  what  our 
eyes  see. 

Add  to  Light 

That  is  what  the  generally  used  filters 
do.  Practically  all  of  them,  whether  yel- 
low, green  or  red,  will  eliminate  the 
invisible  but  undesirable  ultra-violet  rays 
from  working  on  the  film.  And  as  the 
color  of  the  filter  darkens — as  it  goes 
from  the  lightest  yellow  thiough  deep 
yellows,  orange  and  into  the  reds — the 
filter  also  will  hold  up  an  increasing 
amount  of  the  blue  rays. 

Thus  a  filter  cuts  out  a  part  of  the 
light  which  ordinarily  would  be  used  to 
make  an  exposure.  But  it  does  not  add 
anything  to  take  its  place.  Therefore, 
to  keep  our  exposure  correct,  we  either 
must  add  more  total  light — by  opening 
the  lens  diaphiagm — or  give  the  remain- 
ing light  more  time  to  do  its  work — by 
increasing  the  exposure  time.  In  motion 
picture  work  we  nearly  always  do  the 
former. 

The  exact  amount  of  this  increase 
does  not  depend  nearly  so  much  upon 
the  proportion  of  the  total  light  the 
filter  cuts  out  as  it  does  upon  the  pro- 
portion of  the  light  to  which  the  film 
is  sensitive  that  the  filter  removes. 

Thus,  suppose  we  have  a  filter  that 
cuts  out  all  of  the  ultia-violet  and  blue 
rays.  If  we  use  it  on  a  film  which  has 
90  per  cent  of  its  sensitivity  in  the  blue 
and  ultra-violet,  and  10  per  cent  dis- 
tributed among  the  remaining  colors,  we 
have  cut  out  nine-tenths  of  the  light 
capable  of  afl'ecting  the  film.  So  we 
must  make  up  that  missing  nine-tenths 
by  letting  ten  times  as  much  light  in  to 
do  the  work.  And  we  call  that  filter  a 
ten-times  (or  lOx)  filter. 


But  suppose  we  take  the  same  filter 
and  use  it  on  a  diff'erent  type  of  film, 
which  has  50  per  cent  of  its  sensitivity 
in  the  ultia-violet  and  blue,  and  the 
remaining  half  distributed  among  the 
other  colors.  Here  we've  only  cut  down 
our  useful  light  by  half. 

Therefore  we  need  only  double  our 
total  amount  of  light  to  keep  a  normal 
full  exposure.  And  on  that  film,  the 
same  filter  has  a  factor  of  but  2.  In 
other  words,  the  filter  which  was  on  the 
first  film  a  lOx  filter,  becomes  a  2x  filter 
on  the  more  sensitive  type. 

Using  Very  Light  Filter 

The  propoition  of  the  light  a  filter 
cuts  out  is  roughly  in  proportion  to  the 
depth  of  its  coloring.  So,  too,  are  its 
effects. 

If,  for  instance,  we  use  a  very  light 
filter  which  will  absorb  (or  cut  out)  only 
the  ultra-violet  it  stands  to  reason  the 
blue  rays  will  pass  through  and  affect 
the  film  almost  as  if  no  filter  at  all  were 
used. 

If,  on  the  othei  hand,  we  use  a  deeper 
filter  that  cuts  out  part  (but  not  all) 
of  the  blue  rays,  we  will  get  some  action 
from  the  blues  but  definitely  less  of  it. 
Finally,  if  we  use  a  filter  that  cuts  out 
all  of  the  blues  we  certainly  can't  expect 
any  picture-forming  action  in  the  image 
of  the  blue  parts  of  our  scene. 

In  the  first  case,  we  may  expect  the 
result  to  be  largely  a  general  clearing 
up  of  the  haze  resulting  from  an  excess 
of  ultra-violet  light.    In  the  second  case. 


Certainly  Do  Enjoy  It 

I  have  been  a  subscriber  to  The 
American  Cinematographer  for 
quite  a  few  years  and  certainly  do 
enjoy  it,  as  I  am  very  much  inter- 
ested in  photography.  I  have  an 
Eyemo  35mm.  as  well  as  Bell  & 
Howell  16mm.  equipment. 

WILLIAM  F.  CHAPIN. 
Buffalo,  N.  Y. 


we  may  expect  not  only  this,  but  also 
to  find  blue  areas  daikened  from  white 
to  a  moderately  light  gray. 

In  the  third,  all  the  blue  areas — like 
skies,  water,  etc. — will  be  rendered  al- 
most completely  black,  for  the  blue  rays 
have  been  removed,  and  there  is  nothing 
in  their  place  to  make  an  exposure. 

At  the  same  time,  we  have  allowed 
more  light  of  the  other  colors  passed  by 
the  filter,  and  to  which  our  film  may  be 
sensitive,  to  get  in  to  woik  on  the  film. 
Therefore  we  may  expect  these  areas 
to  be  rendered  lighter  than  normal. 

This  is  especially  true  of  objects  the 
same  color  as  the  filter,  or  of  closely 
related  colors,  or  tones  which  include  a 
considerable  proportion  of  that  color  in 
their  chiomatic  make-up. 

Cardinal  Point 

This  brings  us  to  a  cardinal  point  in 
filtering.  A  filter  will  lighten  the  ren- 
dition of  objects  of  its  own  color,  and 
darken  objects  of  complementary  colors. 
This  action  is  quite  directly  proportioned 
to  the  density  of  the  filter's  color. 

Obviously,  if  we  use  a  deep  red  filter, 
we  are  cutting  out  all  blue  light,  and 
at  the  same  time  allowing  the  led-ray 
parts  of  the  image  to  work  more  in- 
tensely than  normal.  So  we  can  expect 
to  find,  for  instance,  the  blue  of  the  sky 
rendered  as  virtually  black,  while  the 
image  of  a  red  barn  will  be  made  very 
light  indeed. 

On  the  other  hand,  if  we  used  a  blue 
filter,  the  blue  sky  would  be  much  whiter 
than  normal,  while  the  red  barn  would 
become  almost  black.  In  the  first  in- 
stance, any  clouds  which  might  be  in 
the  sky  would  stand  out  abnormally 
clear  against  the  unnaturally  black  sky. 
In  the  second  the  white  clouds  would 
disappear  into  the  whitened  sky. 

Halfway  between  these  extremes, 
using  a  filter  which  cut  out  most  of  the 
blue,  but  not  quite  all — say  a  medium 
yellow  filter — we  would  find  the  red  barn 
rendered  but  slightly  lighter  than  nor- 
mal and  the  sky  darkened  only  a  little, 
but  enough  to  make  the  clouds  evident 
against  the  moderately  gray  sky,  which 


260     American  Cinematographer    •    June,  1938 


would  be  quite  a  true  monochrome  ap- 
proximation of  what  our  eyes  actually 
saw. 

The  scientific  people  can  of  course 
make  glass  and  gelatin  filters  of  an  in- 
finite variety  of  colors  and  densities.  But 
this  does  not  in  the  least  alter  the  fun- 
damental facts  of  filter  action,  though 
it  does  of  course  give  an  opportunity 
for  the  very  technically  minded  to  draw 
some  extremely  precise  distinctions  in 
filtering. 

Three  Filters 

But  for  all  practical  purposes,  you  and 
I  can  satisfy  ourselves  with  three  filters 
— two  if  we  like  to  travel  light.  Num- 
ber one  would  be  a  very  light  yellow 
one,  which  would  cut  out  all  the  ultra- 
violet and  a  little  of  the  blue.  Gen- 
erally speaking,  the  action  of  this  filter 
would  be  to  "clean  up"  the  picture,  and 
make  our  black-and-white  image  a  closer 
approximation  of  what  the  eye  sees. 

Number  two  would  be  a  deep  yellow 
filter.  This  would  carry  the  effect 
farther,  and  give  you  generally  normal 
effects,  with  the  sky  and  clouds  perhaps 
a  tiny  bit  exaggerated. 

Number  three  would  be  a  red  filter. 
This  would  give  a  strongly  exaggerated 
effect — extremely  dark  skies,  unnatural- 
ly prominent  clouds,  and  an  exagger- 
ated contrast  overall.  Using  this  filter 
in  combination  with  underexposure  and 
a  cross-lighting  with  long,  prominent 
shadows  would  even  give  a  good  ap- 
proximation of  a  night-effect. 

Also,  since  this  filter  would  cut  out 
all  the  ultra-violet  and  blue,  which  are 
the  chief  components  of  distance-obscur- 
ing haze,  this  filtering  would  cut  through 
haze-obscured  distance  amazingly. 
Two  Can  Get  By 

With  these  three  filters  you  have 
everything  you  could  possibly  want.  If 
you  still  desire  more  simplicity,  telescope 
your  two  lighter  filters  into  one  by  using 
a  medium  yellow  filter.  Thus  you  would 
have  your  yellow  filter  for  normal  ef- 
fects and  your  red  filter  for  exaggerated 
effects. 

And  with  those  two,  you  could  meet 
almost  any  problem  likely  to  come  up 
in  the  course  of  normal  amateur — or 
even  professional — filming. 

One  word  of  caution  is  necessary, 
however.  When  using  heavy  filters 
when  there  are  people  figuring  promi- 
nently in  a  scene  don't  overlook  the  fact 
that  if  a  filter  lightens  objects  of  yel- 
low and  red  coloration  it  will  do  the 
same  to  people's  clothes  and  faces.  It 
can  be  very  embarrassing  to  make  a 
heavily  filtered  shot  of  a  pretty  girl, 
and  find  in  your  picture  that  her  lips 
and  cheeks  have  become  a  ghostly  white! 

On  the  other  hand,  this  can  be  put 
to  useful  work.  Freckles,  for  instance, 
can  be  erased  by  the  use  of  a  moder- 
ately deep  yellow  or  orange  filter,  while 
some  of  our  exaggerated  summer  tans, 
like  the  ruddy  complexions  of  Indians, 
Mexican  peons  and  Polynesians,  can  be 
perceptibly  lightened  by  the  same  filter- 
ing. Similarly,  W.  C.  Fields'  prominent 
proboscis  can  be  modified  or  exagger- 
ated by  judicious  filtering. 


Finally,  the  question  of  "what  filter 
should  I  use?"  invariably  comes  up  in  a 
discussion  of  this  sort.  There  are  so 
many  ways  of  designating  professional 
and  amateur  filters  that  this  is  difficult 
to  answer. 

Personally,  I  like  the  Wratten  filter 
designations  which  are  universal  profes- 
sionally. My  favorites  happen  to  be  the 
Aero  2,  the  G  and  the  23-A;  each  of  my 
fellow-members  of  the  A.S.C.  undoubt- 
edly has  his  own  pets. 


ALL  users  of  Kodachrome  film,  regu- 
lar or  Type  A,  still  or  movie,  will 
welcome  a  handy  new  vest-pocket- 
size  guide,  "How  To  Expose  Koda- 
chrome," just  announced  from  Rochester 
by  Eastman. 

Planned  to  insure  the  perfect  expos- 
ures which  are  desirable  in  color  pho- 
tography, this  guide  is  a  group  of 
graphically  designed  charts,  bound  in 
quick  reference  form. 

Cut-back  page  tabs  make  for  easy  use, 
and  the  precise  exposure  for  any  sub- 
ject, in  any  suitable  light,  is  determined 
in  a  few  seconds.  Large  numerals  and 
two-color  printing  facilitate  exposure 
readings. 

The  guide  also  includes  a  convenient 
"conversion  dial,"  which  provides  a  com- 
plete range  of  lens-and-shutter  combina- 
tions. When  this  dial  is  set  at  the  lens 
and    shutter   speeds    indicated    by  the 


When  you  come  right  down  to  it,  the 
names  don't  matter,  so  long  as  you  know 
that  a  given  filter  will  get  you  results 
you  like,  and  so  long  as  you  are  accus- 
tomed to  using  it. 

Armed  with  a  pale  yellow  filter,  a 
deep  yellow  filter,  and  a  red  filter,  plus 
a  familiarity  with  what  each  will  do  for 
you,  one  is  ready  for  any  filmic  pioblem 
— regardless  of  what  names  the  manu- 
facturer may  give  those  particular  bits 
of  glass  and  gelatin! 


charts  for  any  subject,  it  automatically 
indicates  the  equivalent  lens  opening  for 
any  other  shutter  speed  from  1  second 
to  1/1000.  Lens  openings  from  f.22  to 
f.1.5  are  included. 

Complete  data  are  provided  for  Photo- 
flood  and  Photoflash  pictures  on  Type  A, 
Kodachrome  film,  and  practical  instruc- 
tions are  included  for  the  use  of  Koda- 
chrome filters  and  the  Kodak  Pola- 
Screen  Type  1-A. 

Pages  of  the  guide  are  printed  in  light 
blue  and  black  on  sturdy  card  stock, 
and  laminated  on  both  sides  with  tough 
transparent  Kodapak.  This  durable 
lamination  gives  the  pages  a  smooth 
glazed  surface  which  protects  against 
soil  and  wear.  The  cover  is  stiff,  bound 
in  dark  blue  Kodadur,  and  .stamped  in 
gold. 

Retail  price  of  the  guide  is  50  cents. 


New  Kodachrome  Exposure  Guide 
Ready  for  All  Picture  Situations 


June,  1938    •    American  Cinematographek  2(51 


Features  and  Participants  Ready 
for  Visual  Education  Conference 


THE  National  Conference  on  Visual 
Education  committee  has  at  last 
whipped  its  summer  program  in 
shape  and  now  announces  the  features 
and  participants  of  its  program. 

The  principle  function  of  the  National 
Conference  is  to  study  outstanding  mo- 
tion pictures.  Not  only  are  pictures  to 
be  screened  as  in  former  years,  but  lead- 
ing authorities  in  the  fields  of  education 
and  industry  will  present  authoritative 
data  on  each  film  being  shown. 

The  program  will  open  with  an  ad- 
dress by  Homer  Buckley,  advertising- 
executive;  with  a  reply  by  H.  A.  DeVry, 
president  of  the  DeVry  Corporation  and 
founder  of  the  National  Conference  on 
Visual  Education,  now  in  its  eighth 
year. 

Other  programs,  which  include  motion 
picture  presentations  coordinating  with 
carefully  planned  speakers'  material, 
will  be  Fred  B.  Semb's  "German  Rail- 
roads''; J.  J.  Ferguson  of  Fireman's 
Fund  Insurance  Company,  showing  "Re- 
member Jimmy";  G.  R.  Browder,  Gen- 
eral Motors,  will  show  the  Oldsmobile 
film  "Stranger  Than  Fiction";  "A  School 
in  CCC  Barracks"  will  be  presented,  also 
in  film,  and  discussion  by  George  Rill- 
ing, Superintendent  of  Schools,  Anna, 
Ohio. 

Dr.  I.  E.  Deer,  representative  of  Will 
Hays'  organization,  will  talk  upon  Holly- 
wood's efforts  to  improve  upon  motion 
pictures  and  make  them  more  suitable 
for  educational  use. 

L.  A.  Hawkins  of  International  Har- 
vester will  present  the  "Back  to  the 
Farm"  film  which  will  be  accompanied 
by  an  interesting  talk  by  Mr.  Hawkins, 
representing  the  oldest  users  of  indus- 
trial motion  pictures. 

Other  well-informed  and  capable 
speakers  on  the  four  day  afternoon  and 

Catalogue  on  Lenses  Issued 
by  Goerz  Optical  Company 

A  catalog  covering  anastigmat  lenses 
for  professional  and  amateur  photog- 
raphy, photo-engraving  and  moviemak- 
ing, also  accessories  used  in  these 
blanches  of  picture  taking,  has  just  been 
published  by  the  C.  P.  Goerz  American 
Optical  Company,  well-known  builders 
of  Goerz  photo-lenses  in  America  since 
18!jy. 

Among  the  lenses  listed  is  the  famous 
wide-angle  Dagor  double-anastigmat, 
which  made  its  debut  in  the  photographic 
world  forty-six  years  ago.  Other  lenses, 
all  made  in  its  New  York  factory,  in- 
clude the  Super-Dagor,  Dogmar,  Apoch- 
romat  Artar,  Gotar  and  Kino-Hypar. 

The  catalog  contains  also  a  description 
of  movie  camera  accessories,  such  as 
effect  and  trick  devices,  etc.,  the  produc- 
tion of  which  has  been  the  Goerz  spe- 
cialty for  vears. 


evening  sessions  will  include  A.  P. 
Heflin  of  Lane  Technical  High  S:hool, 
Stuart  Grant  of  Pure  Oil  Company,  R. 
E.  Hughes  of  the  Evanston  Township 
High  School.  Dr.  Francis  S.  Onderdonk 
of  Ann  Arbor,  Dr.  James  Bliss  of  West- 
ern Reserve  University,  Cleveland,  and 
William  E.  Mor.^e,  county  superintendent 
of  schools,  Malad,  Idaho. 

Since  the  school  has  become  an  im- 
portant point  of  distribution  of  indus- 
trial films,  the  relationship  bstween  in- 
dustry and  education,  together  with  the 
obligations  entailed,  will  be  discussed  in 
its  many  phases. 

The  splendid  documentary  film  "The 
River"  will  be  shown  by  A.  A.  Mercy, 
Department  of  Agriculture,  who  will 
give  an  interesting  inside  story  of  this 
picture  and  the  important  innovations  it 
represents  in  the  field  of  education. 


8 


M/M 


DUPLICATE  PRINTS 
REDUCTIONS 
ENLARGING 
ANIMATION 
TITLES 

GENERALCINE  SERVICE 

2(H-A  E.  ISth  .St..  New  York 


16 


M/M 


8  ^"'^'r  16 


Reduced 
TO 


8 


Geo.  W.  Colburn  Laboratory 

Special   Motion  Picture  Printing 
1197  MERCHANDISE  MART 
CHICAGO 


HUGO 
MEYER  1 

i 

Ife,          ^^PEEDS         TO  f/5.5 

1  LENSES 

M    HUGO  MEYER  &  CO. 

^        24$W.  55   ST.,  NEWYOKK 

KODACHROME 

DUPLICATES  IL- 

STITH-NOBLE  CORP. 

YO  0331 

641)  North  Martel  Ave.,  Hollywood,  Calif. 


NATURAL  COLOR 

SxlO   PRINTS  $7.50 

5  X  7  PRINTS  $5.00 

From  KODACHROME 

Attractively  mounted  enlargements, 
glossy  or  semi-matt  surfaces,  from 
35mm.  and  16mm.  transparencies. 
Color  Prints  from  KODACHROME  as 
fine  as  can  be  made  regardless  of  price. 

RIITUCMDFDC      "The    lending    Makeis  of 
UintnDCnU  Natural    Color  Photograuhs." 
4V6I   Sunset  Blvd.,   Dept.  A-6,   Hollywood,  California 


Victor  Announces  Its  New 
Model  33  Sound  Projector 

THE  Victor  Animatograph  Corpo- 
ration announces  Model  ,33  Ani- 
matophone,  a  16mm.  sound  pro- 
jector sufficient  for  audiences  up  to  ap- 
proximately 250-300  persons,  when  used 
in  a  room  of  appropriate  dimensions. 

The  equipment  is  a  500  watt  lamp, 
2  inch  F1.85  projection  lens  and  hand 
rewind.  A  de  luxe  model  with  motor 
rewind,  750  watt  lamp,  and  2  inch  F1.6 
lens  also  will  be  available. 

A  feature  is  that  the  equipment  as- 
sembles into  one  compact  unit  for  trans- 
porting. For  operation  the  main  unit 
subdivides  into  three  integral  parts.  A 
removable  top  houses  1600-foot  reel 
arms,  a  400-foot  take-up  reel  and  the 
projector  attachment  cord. 

The  special  8  inch  speaker  with  50- 
foot  connection  cable  is  housed  in  its 
own  baffled  case,  which  may  be  in- 
stantly detached  from  the  rear  of  the 
projector  case.  After  removal  of  top 
and  speaker,  the  projector  is  entirely 
inclosed  in  its  own  case  with  a  con- 
venient control  panel  located  at  the  rear. 


16mm.  Film  Is  Now  on  Sale 

To  amateur  moviemakers  and  those 
using  16mm.  film  with  the  negative- 
positive  process  the  fast  Agfa  Superpan 
Supreme  is  now  available  in  100  ft. 
lengths  in   16mm.  negative  form. 

This  new  film  in  35mm.  width  (to- 
gether with  Agfa  Ultra-Speed  Pan) 
won  the  1937  Class  I  award  of  the 
Academy  of  Motion  Picture  Arts  and 
Sciences — the  first  time  a  film  has  re- 
ceived this  distinguished  award  in  seven 
years. 

Superpan  Supreme  may  be  used  with 
one  full  lens  stop  less  exposure  than 
that  necessary  for  16mm.  F.  G.  Super- 
pan  which  it  replaces,  or  for  ordinary 
supersensitive  type  films.  Although 
speed  is  great,  grain  size  is  extremely 
small  and  gradation  is  more  brilliant 
than  Superpan  formerly  supplied.  Pro- 
tection against  halation  is  provided,  and 
a  coating  over  the  emulsion  protects  it 
from  abrasion  marks. 

Agfa  Superpan  supreme  negative 
film  is  available  at  photographic  deal- 
ers throughout  the  country. 


New  Kodak  Diffuser 

Users  of  Kodaflectors,  pai'ticularly 
filmers  who  specialize  in  Kodachrome 
pictures,  will  find  practical  value  in  a 
new  Kodaflector  diff'user  just  announced 
from  Rochester  by  Eastman. 

The  diff^user,  a  disk  of  white  spun- 
glass  fabric  13  inches  in  diameter,  is 
mounted  in  a  metal  rim.  A  bracket  and 
U-shaped  rod  are  supplied  for  attaching 
to  the  socket  of  the  Kodaflector. 

Softer  light  obtained  with  the  diffuser 
is  useful  in  informal  portraiture,  as  well 
as  in  identification  work  and  clinical 
photography.  Additional  exposure  is  re- 
(|uired,  the  exposure  with  the  diffuser 
being  about  three  times  the  exposure 
without  it. 


2(')2     American  Cinkmatockapiikr    •    .luno,  lU.'iX 


Los  Angeles  8mm  Club 

The  May  10  meeting-  of  the  Los  An- 
geles 8mm  Club  was  held  at  the  Bell  & 
Howell  auditorium,  710  North  La  Brea 
avenue.  The  meeting  was  tailed  to  order 
by  President  C.  G.  Cornell. 

The  social  committee  gave  all  details 
(including  a  map)  for  finding  our  way 
to  Hidden  Valley,  which  was  to  be  the 
scene  of  our  club's  outing  on  Sunday, 
May  22. 

A  roll  of  8nim  film  shot  l)y  Director 
Lew  Landers  on  the  sets  of  the  RKO- 
Radio  picture  "Condemned  Women"  was 
then  shown.  It  was  i-egretted  Mi'.  Lend- 
ers, owing  to  his  being  in  production, 
was  not  able  to  be  present.  The  club  httd 
the  privilege  of  seeing  what  Smm  film 
looks  like  with  iirofessional  sets  and 
lighting. 

Announcement  was  made  of  the  semi- 
annual contest  which  is  scheduled  for 
June  14.  This  contest  is  open  to  all  mem- 
bers' films  which  have  not  previously 
been  entered  in  a  club  contest  and  all 
pictures  so  entered  shall  be  eligible  for 
the  annual  contest  in  December. 

Many  interesting  members'  films  were 
viewed  for  criticism.  C.  J.  VerHalen 
showed  a  film  entitled:  "The  Honeymoon 
Is  Over," — sent  in  for  criticism  to  the 
Home  Movie  Magazine. 

The  meeting  adjourned  until  .June  14 
at  the  Eastman  auditorium. 

BION  B.  VOGEL,  Secretary. 
T 

Minneapolis  Cine  Club 

At  the  meeting  of  the  Minneapolis 
Cine  Club  on  May  17  D.  T.  Thomassian 
demonstrated  how  properly  recorded 
music  and  voice  may  improve  amateur 
screenings.  The  talk  was  supplemented  by 
a  recording  of  the  voices  of  those  pres- 
ent, which  later  was  played  back. 

W.  R.  Everett  presented  two  reels  of 
western  color  film  for  club  criticism  on 
continuity,  titling,  etc. 

Ormal  I.  Sprungman  demonstrated  in 
a  400-foot  feature  on  "Cainera  Angling 
in  Minnesota"  how  miscellaneous  fishing- 
sequences  may  be  tied  together. 

Carroll  Davidson  gave  a  surprise 
screening  of  100  foot  of  action  taken 
with  a  portable  photoflood  at  the  club's 
movie  party  recently. 

The  election  of  officers  will  be  held 
at  the  last  meeting  of  the  club  year, 
.June  21. 

T 

Academy's  Council  Issues 
Sound  Engineering  Book 

Copies  of  "Motion  Picture  Sound  En- 
gineering," the  new  book  on  sound 
recording  and  reproducing  published  by 
the  Research  Council  of  the  Academy  of 
Motion  Picture  Arts  and  Sciences,  have 
been  distributed  on  all  studio  lots. 

The  book  contains  551  pages  and  381 
illustrations  and  was  prepared  by  Fred 
Albin,  L.  E.  Clark,  John  Hilliard,  Harry 
Kimball,  Kenneth  Lambert  and  Wesley 
C.  Miller. 

The  material  in  the  book  was  taken 
from  the  lectures  originally  presented 
to  the  Council's  classes  in  sound  record- 
ing held  during  19.'3f)  and  1!).'^. 


Here  (ire  two  new  WuIxikIi  Sk {}<-rfl<i>ili  hitlhs,  on  tlic  left  tlii'  No.  0  and  ov  the  ri(/lit 
Special  J'ri'sn  J,(),(i(io.  The  ruler  will  kIiow  tlinr  comparative  nize,  the  No.  0  claiming 
to  be  the  nm.alle.Ht  ftanh  Indb  ever  m/tde. 


PVahash  Photolamp  Announces  Tzvo 

Small  Flashbulbs  for  Speedy  Films 


A TINY  new  flash  bulb  no  taller  than 
a  pack  of  chewing  gum  has  just 
been  announced  by  the  Wabash 
Photolamp  Corporation,  Brooklyn,  N.  Y. 
The  new  size  is  designated  as  Superflash 


for  WIDE-ANGLE  and 
TELE-PHOTOGRAPHY 

W f  are  pleased  to  announce  that  our 


GOERZ 


KINO-HYPAR    F2.7    15  mm 
WIDE-ANGLE  LENS 
and  the 

KINO-HYPAR   F2.7  75  mm  (3") 
for  LONG-DISTANCE  SHOTS 
and  CLOSE-UPS 
can  nmv  be  had  as  Standard  Equip- 
ment   with    the    B  O  L  E  X  16mm 
MOVIE    CAMERA.    Other  focal 
lengths  can  also  be  supplied. 
The  distributors  of  the  precision- 
built    BOLEX    camera    made  this 
choice  after  a  thorough  test  of  the 
American-made    GOERZ  LENSES 
to   assure   their   customers   of  the 
best  pi>ssible  picture  results. 
Specify  GOERZ  LENS  EQUIP- 
MENT   when    purchasing  the 
BOLEX    CAMERA    from  th3 
American    Bolex    Company  or 
authorized  Bolex  dealers. 

For  further  lens  information  addrers 
Dept.  AC6 


CP. GOERZ  AMERICAN  OPTICAL  CO. 


No.  0.  Its  total  light  output  approxi- 
mates 22,500  lumen  seconds,  which  is 
more  than  ample  illumination  for  open 
and  shut  shots  with  faster  films. 

As  is  characteristic  with  all  superflash 
bulbs,  the  new  No.  0  has  the  same  wide- 
peak  type  of  flash  made  longest  at  its 
brightest  point  for  assurance  of  positive 
synchronizing. 

Also  announced  is  another  new  Super- 
flash  bulb  designed  for  practically  every 
requirement  of  press  photography  and 
candid  camera  use.  Special  Press  40,000, 
as  this  new  size  is  called,  is  only  slightly 
larger  than  the  standard  Superflash  No. 
1.  Its  total  light  output  is  40,000  lumen 
seconds,  produced  in  a  wide-peak  flash 
of  great  intensity  and  power  to  pene- 
trate distance  and  cover  wide  areas. 

Timing  and  flashing  characteristics 
are  said  to  be  closely  controlled  within 
precision  limits  to  assure  positive  uni- 
formity from  bulb  to  bulb  and  perfect 
foolproof  sjTichronizing  even  at  highest 
shutter  speeds. 

The  manufacturers  advise  that  the 
new  bulb's  extra  wide  peak  of  illumina- 
tion and  longer  duration  of  flash  make 
it  ideal  for  use  vAth  focal  plane  cameras, 
such  as  Contax,  Leica,  Exakta,  etc.,  since 
the  longer  flash  peak  allows  maximum 
illumination  to  flood  the  subject  photo- 
graphed during  the  full  time  that  the 
focal  plane  curtain  is  traveling  across 
the  negative. 


317  E.  34  St. 


New 


^YorlJ 


The  German  Film  Academy,  establish- 
ment of  which  was  previously  announced 
by  the  Reich  Minister  of  Public  Enlight- 
enment and  Propaganda,  recently  began 
functioning  in  Berlin,  according  to  a  re- 
port to  the  Department  of  Commerce 
by  the  cffice  of  the  American  Commercial 
Attache  at  Berlin.  The  Academy  will  be 
divided  into  three  sections,  artistic,  tech- 
nical, and  e-onomic,  the  report  stated. 


June,  HiliS    •    American  Cinematogkai'Hki;  2()3 


Oyic  of  a  so-iV'.s  of  stilh  photof/raplird  bij  the  Philcdclphia  Civemii  Club  <iud  dcsif/ncd 
to  slioir  lioir  a  morii'  is  nutdc.  Clara  Lcvene  in  the  object  of  the  miiiiiftrdtioyis  of 
pHcndo-makcit p  nrtist  Ai  tlinr  J.  Hnrtli.  Harry  Saltzmun  w((h  behind  the  still  camera. 


Philadelphia  Cinema  Club 

The  monthly  meeting  of  the  Phila- 
delphia Cinema  Club,  held  at  the  Hotel 
Adelphia  May  10  marks  a  departure 
from  the  regular  method  of  handling 
membership  in  amateur  clubs.  The  con- 
stitution provides  for  a  membership 
limitation  of  75,  but  in  order  to  provide 
for  the  wives  of  active  or  regular  mem- 
bers, a  second  classification,  known  as 
auxiliary  members  was  voted  upon  and 
approved.  The  auxiliary  membership  is 
a  limited  one  for  the  wives  of  regular 
members.  Their  dues  of  SI  a  year  en- 
title them  to  all  privileges  with  the  ex- 
ception of  voting  rights. 

They  can  attend  all  meetings,  whether 
regular,  special,  open  or  closed;  are  en- 
titled to  courtesy  cards  of  admittance 
for  friends  but  cannot  vote  for  officers  or 
in  contests.  As  the  club  has  a  consid- 
erable waiting  list,  those  wives  who  are 
now  regular  members  and  may  be  de- 
sirous of  dropping  down  to  auxiliary 
membership  will  enable  some  of  the 
waiting  list  to  come  into  active  partici- 
pation in  the  club's  work. 

The  50-foot  contest  was  certainly  a 
welcome  relief  to  the  usual  run  of  long 
films,  and  while  it  is  an  innovation  with 
the  Philadelphia  Cinema  Club  it  was  so 
well  received  that  no  doubt  length 
limitation  will  be  applied  to  all  future 
contests. 

A  total  of  fourteen  films,  of  which 
four  were  in  the  8mm.  group,  were 
shown  and  voted  on  by  the  membershin. 
The  winner  of  the  8mm.  group  was  F. 
N.  Hirst,  the  title  of  his  film  being 
"Perils  of  Paul,"  done  in  Kodachrome. 


In  the  IGmm.  showing  the  first  ])rize 
winner  was  R.  W.  Bugbee,  whose  Koda- 
chrome film  "Ice  Follies"  indicated  mar- 
velous color  rendition. 

Second  prize  was  awarded  to  A.  J. 
Hurth,  on  his  novel  number  "A  House 
Painter,"  also  done  in  Kodachrome, 
taken  a  frame  at  a  time,  and  indicating 
an  artist  at  work  drawing  a  landscape 
including  a  house,  starting  with  blank 
sheet  of  paper  and  finishing  the  whole 
thing  up  from  the  first  pencil  lines  to 
the  final  brush  strokes.  Considerable 
discussion  centered  around  this  film, 
which  was  rather  unique,  and  the  first 
one  of  its  kind  presented  to  the  Club. 

A  considerable  number  of  the  club 
members  traveled  in  a  body  to  the  First 
International  Photographic  Exposition 
in  New  York.  During  the  course  of  their 
journey  by  train  and  boat,  from  Phila- 
delphia to  New  York,  they  managed  to 
work  up  quite  a  few  interesting  shots 
backed  up  by  a  scenario  that  had  been 
})repared  in  advance. 

This  special  film,  the  first  of  its  kind 
attempted  by  the  club,  will  be  the  center 
of  attraction  for  the  June  meeting.  Ap- 
plications to  see  this  film  at  the  meeting 
should  be  made  to  the  secretary,  Horace 
Wilson,  1000  Chestnut  street,  Philadel- 
phia. B.  N.  LEVENE, 

Chairman    Publications  Committee. 


Brown  on  Council 

The  Research  Council  of  the  Academy 
of  Motion  Picture  Arts  and  Sciences  an- 
nounces the  appointment  of  Bernard  B. 
Brown  to  represent  Universal  Pictures 
Company  on  the  Council,  replacing 
Homer  Tasker,  now  with  Paramount. 


Victor  Makes  Reductions  in 
Several  Sound  Projectors 

Victor  Animatograph  Corporation, 
Davenport,  Iowa,  manufacturer  of  the 
16mm.  Animatophone  sound  projector, 
has  effected  material  list  price  reduc- 
tions on  Models  25AC,  248  and  38. 

It  is  claimed  that,  although  material 
and  labor  costs  have  steadily  increased, 
price  reductions  have  been  made  possible 
by  a  constantly  growing  volume  of  sound 
projector  business,  a  large  part  of  which 
has  come  from  the  school  market. 
T 

New  Wonderlite  Series 

The  Wonderlite  Company  has  placed 
on  the  market  a  series  of  new  enlarging 
bulbs.  These  bulbs  are  radical  in  design 
and  have  been  developed  for  the  sole 
purpose  of  making  them  more  adaptable 
to  the  enlargers  in  present  use. 

Wonderlite  opal  enlarging  bulbs  are 
made  of  a  special  bone  potash  glass. 
This  glass  gives  the  highest  quality  of 
diffusion  possible.  The  structure  of  the 
glass  is  such  that  diffusion  takes  place 
throughout  the  entire  cross  section  of 
the  glass  and  not  merely  on  the  surface. 

The  use  of  Wonderlite  opal  enlarging 
lamps  reduces  the  possibility  of  grain 
trouble. 

Wonderlite  opal  enlarging  lamps  are 
made  with  the  same  special  process  used 
in  manufacturing  all  Wonderlite  photo- 
flood  lamps.  Thus,  a  minimum  life  of 
300  hours  is  assured  with  very  slight 
blackening. 


NATURAL  COLOR 

Enlargement  Prints 

from  your  own 

35  mm.  Color  Transparencies 
8x10  Prints  $15.00  each 
11x14  Prints  $20.00  each 

All  prints  beautifully  mounted  ready  for 
framing.  Satisfaction  guaranteed.  We  reserve 
right  to  refuse  to  make  prints  from  imperfect 
transparencies. 

"Qiidlitji  prints  our   ivatcli  irord" 

HESSERCOLOR  CORP. 

6605  Hollywood  Blvd..  Rm,  213,  Hollywood,  Cal. 
Dealers,  write  for  agency  terms 


2i'>[      Amkiucan  f'.iNKM A'I (H;i(AriiKK    •    .lunc,  i;».'}8 


CLASSIFIED  ADVERTISING 


University  of  Southern 
California 

Dr.  A.  H.  Giannini,  president  United 
Artists,  in  hia  lecture,  April  20,  before 
the  class  in  motion  picture  distribution 
and  exhibition.  University  of  Southern 
California,  stressed  the  basic  factors  in 
granting  credit.  They  are  "the  three 
Cs":  Chai-acter,  capacity,  and  cai)ital. 
Many  times.  Dr.  Giannini  states,  he  has 
loaned  money  to  the  picture  industry  on 
character  and  capacity  to  do  a  good  job, 
leaving-  the  third  "C,"  capital,  out,  and 
those  loans  were  good  loans,  always  re- 
paid. 

Dr.  Giannini  further  stressed  a  state- 
ment made  by  Darryl  Zanuck  in  a  previ- 
ous lecture,  that  is,  the  motion  picture 
business  is  a  frontier  industry,  and  that 
it  always  will  be  a  frontier  industry, 
ever  pushing  into  new  and  unknown  ter- 
ritory. 

Most  men  become  uneducated  the  mo- 
ment they  become  unincjuiring  was  one 
way  the  situation  was  put  to  the  class. 

*  *  * 

A.  E.  Freudeman,  in  charge  of  in- 
teriors at  Paramount,  who  is  conducting 
a  class  in  technique  of  the  art  director, 
has  devoted  the  last  few  class  periods  to 
the  study  of  process  shots,  their  advan- 
tages and  their  limitations. 

Handicapped  by  the  fact  that  most  of 
his  students  are  not  trained  to  execute 
problems  of  set  construction  into  terms 
of  plans  and  sketches,  the  speaker  has 
drawn  upon  past  productions,  using 
regular  studio  stills  to  illustrate  the 
problems  encountered  and  solved  before 
shooting  starts. 

The  importance  of  complete  coopera- 
tion with  camera  and  sound  men  has 
been  stressed  at  all  times. 

*  *  * 

Al  Green,  pioneer  director  now  with 
Warners,  conducted  one  of  the  April 
seminars  in  contemporary  directing. 
Speaking  strictly  from  his  own  angle  in 
pictures,  the  director  considers  imagi- 
nation and  creative  ability  90  per  cent 
of  the  qualifications  needed  for  picture 
work,  the  remaining  10  per  cent  being  a 
knowledge  of  story  construction. 

Mr.  Green  has  the  enviable  ability  of 
becoming  "just  one  of  the  mob,"  as  he 
puts  it,  and  he  made  himself  felt  as  one 
of  the  students  rather  than  as  the  im- 
portant director  he  really  is. 

The  congenial  atmosphere  thus  pre- 
vailing at  the  seminar  made  class  work 
a  real  pleasure  for  the  students. 

The  all-university  council  on  Cinema 
Research  has  started  shooting  a  factual 
presentation  of  the  Santa  Ana  Project. 
This  is  a  problem  solved  by  students  in 
the  School  of  Architecture  in  which  they 
actually  presented  plans  and  models  for 
the  modernization  of  two  business  blocks 
in  Santa  Ana. 

The  film  will  be  a  documentary  record 
of  their  work,  and  it  is  being  made  un- 
der the  direction  of  Miss  Frances  Chris- 
tcson,  head  of  the  reference  department 
of  the  Doheny  Library. 

JACK  V.  WOOD,  S.A.C. 


FOR  SALE 


REBUILT  SILENCED  AND  STANDARD  BELL 
&  HOWKLL  170°  CAMERAS:  Bel)  &  Howell 
sinirle  system,  complete ;  rebuilt  B  &  H  sound 
printers ;  rebuilt  Duplex  sound  and  picture 
printers :  200  ft.  Stinemann  developing  re<'ls : 
used  measurin(f  machines.  Used  Mitchell  cam- 
eras, complete  Akfley  camera  e<iuipment.  Akeley 
lOOO-ft.  maKazines.  synchronous  camera  motors. 
Hell  vii  Howell  1000  ft.,  400  ft.  magazines. 
Motors,  sunshades,  fwulers,  lenses  and  all  ac- 
cessories. 

Write,  wire  or  cable: 
MOTION    PICTURE   CAMERA    SUPPLY,  INC. 
723  Seventh  Avenue  New  York  City 

Cable :  Cinecamera 


BELL  &  HOWELL  .5-WAY  .SOUND  PRINTER, 
flenerators.  Panel  Control  Boards.  Duplex  Print- 
ers. Sound  Moviolas.  DevelopinK  Machines. 
Blimps,  Dolly,  B  &  H  splicers,  Mitchell  and 
B  &  H  Silent  Cameras,  Motors,  HiKh-Speed 
(Jear  Boxes,  LiKht  Testers,  Projection  and  Licht- 
inn  E<iuipment.  Guaranteed  optically  and  me- 
chanically perfect.  Send  for  1937  BarKain 
Catalogue.  Hollywood  Camera  Exchange.  1600 
Cahuenga  Blvd.,  Hollywood,  California.  Cable 
Hocamex. 


WE  BUY,  SELL  AND  RENT  PROFESSIONAL 
AND  16  mm  EQUIPMENT  NEW  AND  USED. 
WE  ARE  DISTRIBUTORS  FOR  ALL  LEAD- 
ING MANUFACTURERS.  RUBY  CAMERA 
EXCHANGE,  729  Seventh  Ave.,  New  York  City. 
Established  since  1910. 


COMPLETE  DODGE  SOUND  TRUCK,  READY 
for  production — Blue  Seal  variray  variable  area 
recordint;  system  converter,  mike  boom,  exten- 
sion mixer,  batteries,  cables,  all  accessories — 
k'ua  ranteed. 

BLUE  SEAL  SOUND  DEVICES,  INC. 

72:j  Seventh  Ave.  New  York  City 

BELL  AND  HOWELL  170°  CAMERAS— High 
speed  shuttles — hisih  speed  gear  boxes — 400  and 
1000  foot  Bell  &  Howell  magazines— Bell  & 
Howell  tripods— motors.  Mitchell  silenced  cam- 
eras. AKELEY  and  DEBRIE  CAMERAS.  Akeley 
motors.  High  speed  motors.  Sunshades,  lenses 
and  finders. 

Write  or  Wire 
CAMERA  EQUIPMENT.  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 

16MM  &  8MM.  SPORTS.  COMEDIES,  CAK- 
toons,  free  list.  STONE.  Box  16-AC.  Station  W, 
Brooklyn,  N.  Y. 

EYEMOS  71A,  47mra.  F2.5,  case;  TURRET  71B, 
2.5— 47— 1.50mm.  lenses:  TURRET  71C.  24 — 
47— 1.5nmm.  LENSES,  400  FOOT  MAGAZINES, 
MOTOR.  TRIPOD.  ACCESSORIES;  NEU- 
MANN-SINCLAIR 200  foot  SPRING  WIND. 
50— 100— 225mm.  LENSES.  BUY  AND  TRADE. 
CAMERA  MART,  INC. 

70  WEST  45TH  ST.  NEW  YORK 


THE  Du  Pont  Film  Manufacturing 
Corporation  announces  16mm  Reg- 
ular Pan  as  a  new  reversible  pan- 
chromatic film  for  the  amateur  market. 
The  list  price  of  this  new  film  is  S4.50 
for  a  100-foot  daylight  loading  spool, 
including  processing. 

Like  all  Du  Pont  panchromatic  emul- 
sions. Regular  Pan  has  a  color  sensi- 
tivity that  closely  approximates  that 
of  the  human  eye.  Consequently,  it  will 
be  possible  to  use  filters  with  this  film 
with  only  a  moderate  increase  in  expo- 
sure and  to  take  indoor  movies. 

Since  Regular  Pan  is  approximately 
one-half  as  fast  as  the  familiar  Supe- 
rior Pan,  the  use  of  it  indoors  will  neces- 


FOR  SALE  1  AKELEY  STANDARD  PROFES- 
sional  Tripod,  1  400  and  800  ft.  H&H  Maga- 
zines. 2  12  volt  D.  C.  Geared  Motors,  2 
Universal  maKa/.ineH.  2  Carrying  Cases.  $75.00 
for  the  lot.  Cash  with  order.  P.  O.  Box  1457. 
Tampa,  Fla. 


I- RED  HOEFNKR  PROFESSIONAL  TRIPOD 
with  Mitchel  legs-  <pecial  $185.00  (like  newi. 
Linhof  front  altachment  with  Iris  barn  di>or  for 
elfects  list  $150. <]0.  our  -pecial  $55  (perfecti. 
Eyemo  35mm  with  2"  Cuoke  f2.5  $120.00  (like 
new  P.  I>eica  "G"  Summar  f.2.  with  Eveready 
case  $132. .50.  3"  f3.5  B&L  Tessar  DeVry  35mm 
mount  $27.00.  Hundreds  of  other  busy  in  8-9'/^- 
l6-35mm  equipment,  films,  Ijought,  sold,  ex- 
changed. Sound,  silent  16mm  library.  Catalog 
free.  MOGULI/S.  68-A  West  48th  St.,  New 
York  City,  (opposite  Radio  Cityi. 


ONE  70  mm.  FEARLESS  silenced  camera ;  two 
1000  ft.  magazines ;  50.  75  and  100mm  F2 
lenses.  This  e<)uipment  is  in  perfect  me- 
chanical condition.     Write  or  wire. 

CAMERA   EQUIPMENT.  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cineouip 


LATEST    TYPE    FEARLESS  VELOCILATOR. 
like  new.  in  perfect  mechanical  condition. 
CAMERA  EQUIPMENT.  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 


BELL  &  HOWELL  .35  MM.  COMPLETE 
si'enced  professional  camera  with  high  speed 
silent  check  pawl  movement,  full  equipment 
including  single  system  sound,  with  condenser 
microphone,  cables,  trunks,  ready  to  use. 
$2250.00.  Picture  and  details  on  reiiuest. 
BASS  CAMERA  COMPANY 

179   W.   Madison   St.  Chicago,  III. 


WANTED 


WE  PAY  CASH  FOR  YOUR  USED  CAMERA. 
LABORATORY     AND     STUDIO  EQUIPMENT. 

Write,  wire  or  cable 
MOTION    PICTURE    CAMERA    SUPPLY.  INC. 
723  Seventh  Avenue,  New  York  City 

WANTED :  We  pay  cash  for  everything  photo- 
graphic. Send  full  information  and  lowest  cash 
prices.  HOLLYWOOD  CAMERA  EXCHANGE, 
1600  Cahuenga  Blvd.,  Hollywood.  Calif. 


WANTED  TO  BUY  FOR  CASH 
CAMERAS  AND  ACCESSORIES 
MITCHELL,  B  &  H,  EYEMO,  DEBRIE,  AKELEY 
ALSO    LABORATORY    AND    CUTTING  ROOM 
EQUIPMENT 
CAMERA  EQUIPMENT,  INC. 
1600   BROADWAY,   NEW  YORK  CITY 
CABLE:  CINEQUIP 


VIEW     AND     NEWS  PHOTOGRAPHERS. 
National  View.     Box  85-W,  Winona,  Minn. 


sitate  having  twice  as  much  light.  For 
ordinary  shots  outdoors,  this  film  will 
faithfully  record  tone  values  exactly  as 
they  occur  in  the  subject  being  photo- 
graphed. 

Regular  Pan  is  a  non-halation  film, 
so  that  the  ordinary  fuzziness  surround- 
ing the  image  of  bright  objects  is  elimi- 
nated. 

The  negative  and  positive  print 
method  of  processing  Superior  Pan 
will  not  be  used  with  this  new  film. 
Rolls  of  Regular  Pan,  when  returned  to 
the  manufacturer,  will  be  processed  by 
the  Du  Pont  reversal  method,  which 
automatically  corrects  exposure  errors 
of  considerable  magnitude. 


Du  Pont  Issues  16mm,  Regular  Pan 

as  Reversible  Film  for  Amateurs 


YOUR  CAMERA  CAPTURES 


SckimL  Siih^aoL  ShowA.! 

To  do  full  justice  to  your  equipment  and  your 
picture  taking  skill — project  your  movies  and 
candid  camera  scenes  on  a  Da-Lite  Glass-Beaded 
Screen.  Made  differently  from  any  other  beaded 
surface,  the  Da-Lite  Glass-Beaded  Screen  brings 
out  all  the  detail,  the  depth  and  the  rich  gradations 
of  tone  that  your  camera  captures.  Da-Lite's  ad- 
vanced process  of  applying  glass  beads  makes  a 
marvelous  difference  in  the  clarity  and  the  brill- 
iance of  your  pictures.  This  finer  screen  surface 
is  available  in  many  types  of  mountings  from 
$2.50  up.  Insist  on  Da-Lite  for  complete  satis- 
faction. Write  for  literature  and  name  of  Da-Lite 
distributor  nearest  you! 

DA-LITE  SCREEN  CO.,  INC. 

Dept.  6AC.  2723  N.  Crawford  Ave.,  Chicago.  III. 

SCREENS 

INCLUDE 

•  The  Challenger 

(with  Tripod  Attached) 


Req.  U.  S.  Pat.  Off. 

•  Table  Models 

•  Hanging  Screens 


Da-Lite  Model  D 
In  leatherette-covered 
box   with   single  collaps- 
ible support. 


Society  of  Amateur 

Cinematographers 

^ 

CHARTER  MEMBERSHIP 
CLOSED 

^' -s-  ^- 

THERE  WILL  BE  ONLY  1000 
REGULAR  MEMBERSHIPS 
AVAILABLE- 
THEN  THE  MEMBERSHIP  WILL 
BE  CLOSED 

Fee  $5.00  a  Year 

^' 

Membership  will  include  a  subscription  to  the 
American  Cinematographer.  It  also  will  include 
the  use  of  the  outstanding  films  made  by  members 
of  the  Society  of  Amateur  Cinematographers.  If 
films  are  submitted,  the  best  will  be  duplicated  and 
an  analysis  prepared  by  members  of  the  American 
Society  of  Cinematographers.  This  analysis  will  go 
with  the  picture  and  the  picture  will  be  available  to 
any  member  of  the  Society  of  Amateur  Cinema- 
tographers. 

^' 

Technical  consulting  service. 

Film  review  service.  Send  your  films  if  you  like  for 
criticism  and  review  by  the  acknowledged  camera- 
masters  of  the  world,  by  Hollywood's  greatest 
Directors  of  Photography. 


Society  of  Amateur  Cinematographers 
1782  North  Orange  Drive 

Hollywood,  Calif.  Date  

I  hereby  apply  for  membership  in  the  Society  of  Amateur 
Cinematographers.  My  remittance  for  $5.00  made  payable 
to  the  Society  includes  the  payment  of  dues.  Of  this 
amount  $2.50  is  to  apply  to  a  year's  subscription  to  the 
American  Cinematographer. 

MEMBERSHIP— $5.00  a  year 


Name   

Street   

City   State  

Please  print  name  and  address 


Be  Sure  of  Securing  the  Best 
Sound  and  Pictures  by  Using 
Complete  Mitchell  Equipment 


The  Latest  Type 
Sound  Recorder  and 
Camera  Built  to  the 
Highest  Standards 


Mitchell  Camera  Corporation 

6  6  5    NORTH    ROBERTSON  BOULEVARD 
WEST    HOLLYWOOD,  CALIF. 


Cable  Address  "MITCAMCO' 


BELL  &  HOWELL  CO.,  LTD.,  London,  England 
CLAUD  C.  CARTER,  Sydney,  Australia 
D.  NAGASE  &  CO.,  LTD.,  Osalta,  Japan 


Phone  oxford  1051 


AGENCIES 


MOTION  PICTURE  CAMERA  SUPPLY,  INC.,  New  York  City 
BOMBAY  RADIO  CO.,  LTD.,  Bombay,  India 
H.  NASSIBIAN,  Cairo,  Egypt 


ericam  Society  of  Cinematographers 


^i,  mm 


'-^  The  quality  of  Superior  Pan 
is  dependable.  In  back  of  every 
roll  is  the  skill  and  experience 
accumulated  from  making  this 
film  during  the  last  six  years. 

For  consistently  good  neg- 
atives, rely  on  Du  Pont  Superior 
Pan. 


Du  Pont  Film  Manufacturing  Corporation 

INCORPORATED 

9  Rockefeller  Plaza  SMITH  cSl  ALLER,  LTD. 

New  York.  .  .  .  N.  Y.  6656  Santa  Monica  Blvd. 

Plant . .  Parlin,  N.  J.  Hollywood  .  .  .  California 


BETTER  THINQS  for  BETTER  LIVING  through  CHEMISTRY 


July,  1938    •    American  Cinematographer  265 


MANY  CAMERAS  IN  ONE. 


THE  NEW  EYEMO  is  many  cameras 
in  one.  Used  as  a  spring-driven 
hand  camera,  as  shown  above,  it  gets 
the  picture  where  conditions  de- 
manding maximum  portability  and 
quick  shooting  make  large  cameras 
impractical. 

The  same  Eyemo  can  be  equipped 
with  many  of  the  features  of  Bell  & 
Howell  studio  cameras,  to  master 
almost  any  photographic  condition 
.  .  .  and  stripped  to  hand-camera 
form  again  in  an  instant,  should  the 
occasion  require  it. 

The  basic  Eyemo  mounts  three 
lenses  on  a  turret  head  .  .  .  offers 
your  choice  of  the  two  turrets  pic- 
tured. The  enclosed  spyglass  view- 


finder  is  quickly  adjusted  for  six  dif- 
ferent field  areas.  Focusing  and  dia- 
phragm controls  are  seen  through 
the  finder,  permitting  manipulation 
even  while  shooting.  S.M.P.E.  stand- 
ard sound  aperture  and  matched 
viewfinder  are  standard  equipment 
on  all  turret  models. 

Sound,  silent,  and  other  operating 
speeds  are  provided,  the  range  vary- 
ing with  the  model  selected.  The 
improved  vibrationless  governor 
assures  accurate  speeds  from  the  first 
to  the  last  foot  of  film.  Hand  crank, 
supplementing  the  spring  motor,  is 
regular  equipment. 

Electric  motor — universal,  1  2-volt, 
or  synchronous — can  be  added  at 


any  time,  as  can  provision  for  200- 
or  400-foot  external  film  magazines, 
a  prismatic  focusing  magnifier,  and 
a  focusing  alignment  gauge  to  per- 
mit placing  focuser  and  lens  succes- 
sively in  the  photographic  position 
— all  this  while  retaining  the  conven- 
ience of  having  a  hand  camera  to 
use  when  simplicity  is  required. 

There  are  special  Eyemos,  too,  for 
candid  action  still  pictures  and  for 
other  exacting  jobs.  Write  for  com- 
plete information. 

BELL  &  HOWELL  COMPANY 

1848  Larchmont  Avenue  •  Chicago 

New  York:  11  W.  42d  St.  •  Hollywood:  716  N. 
La  Brea  Ave.  •  London:  13-14  Great  Castle  St, 

Established  1901 


BELL  &  HOWELL 


THE  MOST-TALKED-ABOUT  FILMS 

IN  HOLLYWOOD... 
AGFA'S  NEW  35MM.SPEED  FILMS 


Fastest  speed  ever  known  .  .  .  Supreme 
and  Ultra-Speed  Pan  are  the  fastest 
35mm.  films  ever  produced.  And  . . . 
this  remarkable  speed  has  been  ob- 
tained without  sacrifice  of  other  de- 
sirable recording  characteristics! 
Because  of  these  two  films,  the 
Academy  of  Motion  Picture  Arts 
and  Sciences  1937  award  for  tech- 
nical achievement  has  been  granted 
to  Agfa  Ansco  Corporation. 

Supreme  is  twice  as  fast! 

Supreme,  which  is  twice  as  fast  as 
Superpan,  or  the  other  usual  super- 
sensitive films  comparable  to  Super- 


pan,  is  even  better  in  grain  size  and 
gradation! 

Ultra-Speed  is  three  times  as  fast! 

Ultra-Speed  is  three  times  as  fast  as 
Superpan  or  other  comparable 
films,  and  is  being  widely  used  in 
Hollywood  whenever  extreme  speed 
is  called  for. 

These  two  new  Agfa  films  .  .  .  the 
greatest  contribution  to  the  techni- 
cal advancement  of  the  industry 
during  1937  .  .  .  are  available  today. 
Try  them  ...  at  once!  Made  by 
Agfa  Ansco  Corporation  in  Bing- 
hamton.  New  York. 


C.  KING  CHARNEY 


INCORPORATED 


HOLLYWOOD 

6424  Sania  Monica  Blvd. 
Tel.  Hollywood  2918 


NEW  YORK 

245  West  5  5th  Street 
Tel.  Circle  7-463  5 


I'WfOliiiirriittj 


July,  1938 


American  Cinematographer  2G1 


AMERICAN 
CINEMATOGRAPHER 


A  Technical  and  Educational  publication 
on  motion  picture  photography. 

Published  monthly  by  the 

AMERICAN  SOCIETY 

OF  CINEMATOGRAPHERS,  INC. 

1782  North  Orange  Drive 
Hollywood  (Los  Angeles),  California 

Telephone  GRanite  2135 

VICTOR  MILNER,  President. 
FRED  W.  JACKMAN,  Treasurer. 


Vol.  19 


July,  1938 


No.  7 


Contents 


John  Mescall,  A.S.C.,  tells  how  Sonja 
Henie's  skating  brought  new  photo- 
graphic problems  268 

By  John  Mescall,  A.S.C. 

Dr.  Carter  outlines  history  of  search 
for  permanent  photograph  on  metal. 270 

Declares  General  Electric  solves  needs 

of  professional  in  light  meters  272 

By  F.  C.  Bobier 

Gregg  Toland,  A.S.C,  wins  photo- 
graphic honors  for  May  274 

Ace  newsreeler  gives  light  on  how  he 

films  news  of  the  world  275 

By  Arield  Varges,  A.S.C. 

Shooting  Technicolor  in  the  air  opens 

new  field  for  air  pictures  276 

By  Charles  A.  Marshall,  A.S.C. 

What  About  Me?  279 

By  Bee  Gee,  A.S.C. 

Coaxial  Cable  demonstration  by  engi- 
neers proves  great  success  280 

A.S.C.  men  as  Blackburn  guests  enjoy 
"Highlights  and  Shadows"  281 


The  Front  Cover 

On  the  front  cover  this  month 
are  Warner  Baxter  and  Arleen 
Whelan  as  they  are  seen  in  Twen- 
tieth-Fox's "Kidnapped."  It  was 
for  his  work  in  this  subject  as  di- 
rector of  photography  that  Gregg 
Toland,  A.S.C,  was  awarded  the 
honors  in  the  Hollywood  Reporter 
poll  for  May.  Arthur  Arling  and 
Eddie  Fitzgerald  were  the  opera- 
tive cameramen  and  Eddie  Garvin 
and  Robert  Gough  the  assistants. 
The  subject  was  directed  by  Alfred 
Werker. 


The  Staff 


EDITOR 

George  Blaisdell 

WASHINGTON 
STAFF  CORRESPONDENT 
Reed  N.  Haythorne,  A.  S.  C. 

TECHNICAL  EDITOR 
Emery  Huse,  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 

Victor  Milner,  A.  S.  C. 
James  Van  Trees,  A.  S.  C. 
Fred  W.  Jackman,  A.  S.  C. 
Farciot  Edouart,  A.  S.  C. 
Fred  Gage,  A.  S.  C. 
Dr.  J.  S.  Watson,  A.  S.  C. 
Dr.  L.  A.  Jones.  A.  S.  C. 
Dr.  C.  E.  K.  Mees,  A.  S.  C. 
Dr.  W.  B.  Rayton,  A.  S.  C. 
Dr.  Herbert  Meyer,  A.  S.  C. 
Dr.  V.  B.  Sease.  A.  S.  C. 

CIRCULATION  MANAGER 
L.  F.  Graham 

NEW  YORK  REPRESENTATIVE^ 

S.  R.  Cowan,  19  East  47th  St.,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 

Georges  Benoit,  100  Allee  Franklin, 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 

AUSTRALIAN  REPRESENTATIVE 

McGill's.  179  Elizabeth  Street,  Melbourne. 
Australian  and  New  Zealand  agents. 

Neither  the  American  Cinematographer  nor 
the  American  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. This  magazine  will  not  be  respon- 
sible for  unsolicited  manuscripts. 


ESTABLISHED  1920.  Advertising  Rates  cn  application.  Subscription:  United  States,  $2.50  a  year;  Canada  and  the  Pan-American  Union,  $2.50  a  year: 
Foreign,  $3.50  a  year.  Single  copies,  25  cents;  back  numbers,  30  cents;  foreign,  single  copies.  35  cents;  back  numbers,  40  cents.  COPYRIGHT  1938  by 
American  Society  of  Cinematographers,  Inc. 


Entered  as  second  class  matter  November  18,  1937,  at  the  post  office  at  Los  Angeles,  California,  under  the  Act  of  March  3,  1879. 


208      Amkkican  t;iNn;MA'ro(;i?Ariii:i{    •    July,  1938 


Just  One  Camera  Problem  After 
Another  Created  by  Speedy  Sonja 

Director  of  Photog-raphy  on  *'My  Lucky  Star"  Describes 
How  Various  and  Varied  Major  Difficulties  Have 
Been  Surmounted  by  Ingenuity  of  Crew  So  That 
Spotlig-hts  Could  Follow  Skater,  Cameras 
Follow  Beams  and  Ice  Be  Protected 

By  JOHN  J.  MESCALL,  A.S.C. 


Director  of  I'hatoyrnpliy  on  "My  Lncky  Star,"  Sonja  Henie'a 
Twentieth  Century-Fox  Picture 


IT  TAKES  new  subject  matter  to  de- 
velop new  techniques  in  the  art  of 
cinematography,  and  in  the  case  of 
Sonja  Henie  and  her  ice  ballets  necessity 
was  the  mother  of  invention. 

Her  present  Twentieth  Century-Fox 
picture,  "My  Lucky  Star,"  is  the  fourth 
Miss  Henie  has  made,  and  the  second  on 
which  I  have  had  the  opportunity  to 
work  with  Director  Roy  Del  Ruth. 

Her  first  two  pictures  dumped  new 
lighting  and  camera  problems  in  Holly- 
wood's lap,  and  the  suddenness  with 
which  they  appeared  made  it  hard  to 
meet  their  demands  immediately.  It  was 
not  until  the  third  picture,  "Happy  Land- 
ing," were  we  able  to  profit  by  the  trial 
and  error  in  the  first  two  and  devise 
new  methods  to  meet  new  exigencies. 
The  huge  sheet  of  ice  which  is  the 


rink  on  which  Sonja  skates,  measuring 
ai)proximately  100  by  200  feet,  was  our 
fust  lighting  problem.  As  far  as  the 
cameras  are  concerned  it  might  just  as 
well  be  a  huge  mirror. 

We  had  to  begin  by  cutting  down  the 
overhead  lighting  as  much  as  possible 
because  the  terrific  amount  of  reflection 
from  the  ice  causes  that  background  to 
burn  up  and  to  throw  toy  much  addi- 
tional light  on  our  subjects. 

All  Sidelight 

It  also  had  the  tendency  to  melt  the 
ice,  thus  providing  the  production  de- 
partment with  a  problem  of  expensive 
delays. 

Overhead  lighting  has  now  been  elimi- 
nated altogether.  Instead,  everything  is 
lighted  from  the  side,  the  beams  cutting 
from  the  feet  to  the  tops  of  the  heads. 


In  some  cases  where  a  portion  of  the 
light  hits  the  ice,  that  is  easily  goboed 
(blanked)  off.  The  amount  of  indirect 
lighting  which  the  ice  gets  is  more  than 
sufficient  for  photographic  purposes. 

There  is  one  light,  however,  which 
does  hit  the  ice  directly,  and  the  neces- 
sity for  which  was  the  cause  of  two 
other  inventions.  This  is  the  spotlight 
which  follows  Sonja's  movements  and 
spots  a  halo  of  light  on  the  ice  in  which 
she  performs  her  various  gyrations. 

The  problem  that  confronted  us  on 
"Happy  Landing"  was  to  get  a  spot  that 
could  be  handled  from  a  distance  and  yet 
be  bright  enough  to  show  up  against  the 
white  ice.  This  was  accomplished  by 
Twentieth  Century-Fox's  chief  engineer, 
Walter  Strohm,  who  built  an  arc  light 
with  two  projecting  arms.  These  arms 
held  two  telescopic  lenses  which  could 
focus  and  intensify  the  light. 

Even  with  this  advance,  we  still  found 
that  it  lost  a  great  deal  of  intensity 
when  Sonja  skated  too  far  away.  This 
led  to  the  invention  of  a  cable  car  run- 
ning on  tracks  placed  on  the  ceiling  of 
the  stage. 

The  car  platform  holds  two  men:  one 
to  operate  the  light  and  the  other  to 
operate  the  windlass  which  propels  the 
car  from  one  end  of  the  stage  to  the 
other  in  pursuit  of  Sonja. 

Mobile  Camera  Technique 

With  these  advances  in  the  lighting 
question  we  were  able  to  perfect  a  mo- 
bile camera  technique  throughout  the  en- 
tire skating  ballet  sequences.  In  "My 
Lucky  Star"  we  have  brought  it  to  its 
highest  point  to  date. 

Heretofore,  the  use  of  the  conventional 
camera  trucks,  dollies  and  booms  had 
produced  handicaps.  Dolly  tracks  could 
not  be  laid  on  the  ice,  nor  could  rubber 
truck  tires  be  wheeled  across  it.  They 
would  both  leave  marks  or  freeze  to  the 


Sonja  Henie,  at  work  in  Twentieth-Fox's 
'My  Lucky  Star,"   with   John  Mescall, 
A.S.C,  director  of  photography  on  that 
subject. 


I 


July,  1938    •    American  Cinematographer  269 


The  movies  go  round  and  round  .  .  .  TJiis  camera  setup  for  pliotographing  Sonja 
Henie  in  her  Alice  In  Wonderland  ballet  for  her  Twentieth  Century-Fox  picture, 
"Ml/  Lucky  Star,"  works  on  a  pivot  set  in  ike  ice  and  folUnvs  her  in  a  circle  around 
the  rink.  The  outer  lamp,  38  feet  from  the  center,  travels  at  the  rate  of  iO  miles 
an  hour.  Seated  near  the  lamp  is  Dance  Director  Harry  Losee,  while  beside  him 
stands  .John  J.  Mescall,  A.  S.  C.,  director  of  phntogrnpliy.  Director  Roy  Del  Rutli  is 
the  7nari  in  the  overcoat  behind  the  camera. 


ice.  The  camera  boom  could  be  used  to 
a  certain  extent,  but  it  cannot  move  fast 
enough  nor  get  away  to  a  quick  enough 
start. 

Skating  is  not  at  all  like  dancing.  The 
former  has  so  much  more  speed  and 
movement,  and  to  photograph  it  well  the 
camera  must  have  a  corresponding 
amount  of  mobility. 

Instead  of  the  ordinary  camera  truck, 
,  we  built  a  sled  with  ski  runners.  This 

1 1  sled  is  large  enough  to  hold  camera, 

'  lights  and  two  or  three  men,  as  the 

lights  must  follow  with  the  camera.  By 
means  of  a  long  armed  handle  at  the 
back  it  is  propelled  by  grips  who  wear 
cleats  on  their  shoes  to  give  them  a  quick 
getaway. 

We  find  that  the  sled  not  only  can 
move  faster  than  a  truck  or  dolly  but 
also  can  start  quicker. 

The  crowning  achievement  in  this  line, 
in  my  opinion,  is  our  contraption  which 
can  follow  Sonja  at  any  speed  as  she 

i circles  the  entire  rink.  This  consists  of 
a  center  pin  frozen  into  the  ice  in  the 
center  of  the  rink. 

From  this  pivot  extends  a  wooden 
arm,  38  feet  long,  to  which  are  attached 
sleds  of  various  sizes  to  carry  cameras, 
lights  and  men. 

Lights  Travel  Fast 
With  this  arrangement,  we  can  de- 
scribe a  rapid  circle  around  the  rink, 
covering  a  diameter  of  as  high  as  76 
feet.  One  of  our  lights  used  to  spot 
Sonja  is  on  the  extreme  end  of  the 
radius,  and  by  clocking  it  we  found  that 
it  describes  a  complete  circle  in  six  sec- 
onds, which  means  that  it  travels  45 
miles  an  hour. 

The  camera  in  its  position  travels  at 
the  rate  of  30  miles  an  hour,  while 
Sonja,  in  her  relative  positive,  whizzes 
around  at  40  miles  an  hour.  There  is 
none  of  the  conventional  camera  equip- 
ment which  could  help  us  to  photograph 
at  this  rate  of  speed  on  a  sound  stage. 

Besides  its  circular  movement  we  have 
worked  it  so  that  the  center  pin  can  be 
pulled  at  any  given  moment,  and  the 
whole  contraption  hauled  back  or 
pushed  forward  when  Sonja  changes  her 
course.  Even  at  the  speed  we  go  it  can 
be  stopped  or  started  quickly  because 
of  the  cleats  the  grips  wear  on  their 
shoes. 

Skating  plays  havoc  with  focus  when 
it  comes  to  the  matter  of  hitting  exact 
marks.  We  had  some  trouble  with  this 
on  the  last  picture,  which  meant  that 
we  needed  more  takes  than  usual  until 
proper  distances  were  achieved.  Now, 
on  "My  Lucky  Star,"  we  have  even  over- 
come that. 

Finding  the  Camera 

The  grips  have  a  camera  finder  on  the 
sled,  and  in  their  pushing  and  pulling 
work  they  help  to  keep  Sonja  framed. 
When  it  happens  that  Sonja  is  a  foot 
or  two  off  of  hitting  her  marks,  they 
are  thus  enabled  to  bring  the  sled  to  the 
same  comparative  distance  from  the 
camera  marks.  The  saving  in  time  and 
effort  this  has  made  is  remarkable. 

Even  Sonja's  problem  of  finding  the 


camera  after  a  fast  spin  has  been  taken 
care  of.  All  vision  is  blotted  out  for  her 
when  she  goes  into  one  of  those  fast 
whirls  or  spins,  and  it  used  to  be  sheer 
hit  or  miss  guesswork  on  her  part  to 
come  to  a  sudden  stop  facing  the  camera. 
We  used  to  keep  on  shooting  these  spins 
until,  by  accident,  she  finished  facing  the 
right  way. 

Then  we  tried  several  types  of  beacon 
lights  to  attract  her  attention,  but  they 
made  no  difference  to  her  blurred  vision 
at  these  times  and  only  gave  us  extra 
light  which  we  didn't  want.  It  was  when 
I  tried  a  small  red  neon  light  beside  the 
camera  that  she  was  able  to  hit  her  posi- 
tion correctly  every  time. 

Sonja  says  that  at  these  times,  with 
everything  whirling  rapidly  before  her 
eyes,  the  only  single  thing  she  can  pick 
out  is  the  neon  light,  and  can  therefore 
always  gauge  her  stops  facing  it. 


With  all  of  these  innovations  we  have, 
for  the  first  time,  been  able  to  accom- 
plish absolute  complete  mobility  of  the 
camera  instead  of  having  to  depend  on 
a  series  of  cuts  of  long  shots,  medium 
shots  and  close-ups. 

Camera  Moving  in  Fact 

At  no  time  in  her  skating  numbers  is 
our  camera  stationary.  We  follow  every- 
thing backward,  forward,  sideways,  in 
circles,  and  even  in  concentric  and  ex- 
panding circles.  Only  once  did  it  seem 
that  we  would  be  stumped,  but  that 
eventually  worked  itself  out. 

In  the  Alice  in  Wonderland  ballet  for 
"My  Lucky  Star,"  the  biggest  number 
in  the  picture,  Director  Roy  Del  Ruth 
wanted  to  show  Sonja  going  through 
and  later  coming  out  of  the  magic  mir- 
ror. This  meant  that  we  would  have  to 
see  her  reflection  in  it,  have  her  step 
(Continued  on  Page  271) 


270     American  Cinematographer    •    July,  1938 


Dr,  Carter  Outlines  History  of 
Search  for  Permanent  Photograph 

By  DR.  ROBERT  W.  CARTER 

of  the  Taylor-Sloane  Corporation  of  New  York 


IT  must  be  stated  at  the  outset  that 
within  the  limits  of  a  short  article 
it  is  difficult  to  convey  many  of  the 
important  phases  of  the  development 
in  motion  picture  projection  from  metal 
film. 

We  hope,  however,  shortly  to  give  not 
only  a  written  presentation  of  the  prin- 
ciples and  possibilities  involved  in  metal 
film,  but  we  trust  that  we  will  be  able 
to  give  a  demonstration  of  the  quality 
of  image  by  light  reflection  from  metal 
film,  the  eff"iciency  of  sound,  the  possi- 
bilities of  color,  and  the  various  tests 
for  long  life  and  permanence  that  we 
have  established  over  the  period  of 
seven  years. 

In  the  present  article  we  will  endeavor 
to  give  a  brief  sketch  of  the  evolution 
of  metal  film,  starting  with  the  first  de- 
velopment of  images  on  metal,  the  dis- 
covery of  light-sensitive  salts  of  silver, 
and  the  gradual  abandonment  of  metal 
for   paper   and   cellulose  bases. 

We  will  then  trace  the  rise  and  de- 
velopment of  non-ferrous  metals,  partic- 
ularly aluminum  alloys,  the  perfection 
of  mirrors  and  lenses  for  reflection,  the 
technique  and  processes  of  developing 
photographic  images  on  metallic  sur- 
faces, and  the  final  consummation  of  a 
permanent  photographic  image  on  a  flex- 
ible metal  ribbon. 

We  hope  also  to  point  out  some  of 
the  obvious  advantages  of  a  perfected 
metal  film  as  against  the  present  cel- 
lulose acetate  and  cellulose  nitrate  film. 
Story  Ranges  Back 

I  suppose  we  are  all  acquainted  with 
the  fact  that  as  far  back  as  1777  Scheele, 
the  Swedish  chemist,  had  investigated 
the  properties  of  silver  chloride  in  their 
relation  to  light.  We  also  know  that 
Thomas  Wedgewood  read  a  paper  be- 
fore the  Royal  Institution  entitled  "An 
Account  of  a  Method  of  Copying  Paint- 
ing on  Glass  and  Making  Profiles  by 
the  Agency  of  Light  upon  Nitrate  of 
Silver." 

We  cite  these  two  very  early  workers 
to  show  that  the  silver  salts  were  a 
subject  of  considerable  investigation 
prior  to  the  first  photograph  on  metal. 

In  1814  Niepce  came  over  to  England 
and  drew  the  attention  of  the  Royal 
Society  to  his  discovery,  which  was  a 
picture  in  bitumen.  There  is  no  record 
of  what  medium  Niepce  developed  his 
picture  on.     In   1824   Daguerre  began 


In  two  parts — Part  I 

his  celebrated  experiments  on  what  we 
now  know  as  the  Daguerreotype. 

Daguerre's  process  depended  entirely 
upon  a  metal  base.  His  original  paper 
shows  that  a  sheet  of  copper  was  selected 
and  plated  with  a  film  of  pure  silver. 
This  was  highly  polished  and  then  ex- 
posed to  the  vapor  of  iodine.  After 
exposure  the  image  was  developed  by 
the  vapor  of  mercury. 

To  Daguerre  belongs  the  glory  of  the 
discovery  that  an  image  could  be  pro- 
duced in  a  silver-coated  metal  plate. 
Most  authorities  on  the  history  of  pho- 
tography admit  that  the  daguerreotype 
print  was  superior  in  definition  and 
beauty  to  all  other  photographs  taken 
on  other  materials.  We  all  know  the  dis- 
advantages that  caused  the  process  to 
become  obsolete. 

The  picture  was  laterally  inverted; 
it  was  difficult  to  see  the  image  at  all 
angles  of  reflection;  and  there  did  not 
seem  to  be  any  rapid  method  of  making 
copies  from  the  original. 

W^e  might  point  out  in  passing  that 
more  daguerreotype  prints  have  sur- 
vived the  ravages  of  time  than  any 
other  type  of  print  that  has  come 
down  to  us  since  the  discovery  of 
photography. 

It  is  probably  an  old  story  to  most 
of  you  how  W'edgewood,  Fox  Talbot, 
Sir  John  Herschel,  Mungo  Ponton  and 
other  illustrious  workers  advanced  sil- 
ver gelatine  emulsions  on  paper,  how 
metal  was  gradually  eliminated,  and  in 
the  year  1850  the  daguerreotype  process 
had  been  superseded  by  the  wetplate 
process,  gelatine  chloride  process,  and 
metal  as  a  base  became  almost  exclu- 
sively confined  to  engraving,  etching 
and  printing  processes. 

We  should  mention  the  so-called  tin- 
type, which  is  really  not  a  photograph 
on  metal  in  the  sense  that  a  daguerreo- 
type is,  but  is  a  ferrotype  plate  with  a 
silver  emulsion  on  the  surface  of  a 
black  varnished  coating.  These  prints 
are  fugitive  and  are  not  to  be  con- 
fused with  the  daguerreotype  for  beauty 
or  permanence. 

Before  dealing  exclusively  with  our 
own  developments  which  commenced  in 
the  year  1910,  we  would  like  to  consider 
two  recent  developments,  one  by  the 
Siemen-Halske  Company  in  Germany 
and  the  other  a  very  recent  development 
by  Dr.  Paul  Merica. 


We  have  very  few  details  about  the 
latter  process,  except  that  pictures  are 
made  on  sheets  of  duralumin  about  one- 
sixteenth  of  an  inch  thick  which  con- 
tains an  oxide  coating  of  silver  salts 
sensitive  to  light.  This  statement  is 
dated  March  18,  19.38,  and  is  given  by 
the  Associated  Press. 

The  Siemen-Halske  development  dates 
back  to  1932  and  is  a  process  in  which 
the  surface  of  aluminum  and  aluminum 
alloys  is  treated  by  an  anodic  bath.  This 
modified  surface  forms  with  silver  and 
other  sensitive  salts  an  aluminum  com- 
pound that  is  sensitive  to  light. 

We  might  say  in  reference  to  this 
that  we  have  created  an  anodic  surface 
on  aluminum  and  aluminum  alloys  as 
far  back  as  1912  and  have  never  been 
able  to  make  a  compound  of  silver  on 
any  other  sensitive  medium  that  had 
anything  more  than  academic  value. 

Seek  Indestructible 

Our  approach  to  the  development  of 
photographs  on  metal  was  mainly  to  se- 
cure an  image  that  would  be  positively 
permanent,  fadeless,  and  indestructible. 
Many  years  were  devoted  to  seeking  a 
method  of  making  images  on  paper  that 
we  could  be  assured  were  permanent. 
Exhaustive  studies  were  carried  out  on 
silver  salts,  platinum,  carbon  tissue,  and 
other  methods  of  positive  printing  that 
claimed  permanence. 

We  gave  allowance  for  hasty  develop- 
ment or  insufficient  fixing  or  washing 
of  the  print  and  carried  out  our  ex- 
periments and  tests  with  the  most  rigid 
controls  possible. 

The  results  of  our  investigation  es- 
tablished the  fact  that  while  one  or  two 
prints  by  any  of  the  methods  men- 
tioned would  be  unchanged  at  the  end 
of  three  years,  other  prints  of  the  same 
group  made  under  identical  conditions 
and  with  the  same  controls  would  be 
stained,  faded  or  discolored. 

We  were  of  the  opinion  that  this  was 
largely  due  to  the  chemical  changes  in 
the  paper  base.  We,  however,  critically 
examined  the  negatives  by  Brady  of 
Abraham  Lincoln.  The  silver  gelatine 
emulsion  was  suspended  upon  glass  and 
appeared  to  be  in  good  preservation. 

The  iniddle  tones  indicated  disinte- 
gration and  led  us  to  the  conviction  that 
for  a  permanent  photograph  it  was 
necessary  to  change  both  the  base  and 


July,  1938    •    American  Cinematographer  271 


the  medium  used  in  securing  the  pho- 
tographic print. 

In  1912  we  commenced  our  research 
on  a  suitable  metal  as  a  base  for  a 
permanent  photograph.  We  will  not 
weary  you  with  the  details  about  the 
rejection  of  the  usual  methods  given 
in  textbooks  and  technical  journals. 
Back   to  Daguerreotype 

We  might  state  that  the  daguerreo- 
type process  gave  up  the  only  existing 
method  of  making  photographic  images 
on  metal.  We  suppose  that  some  of  our 
readers  have  made  a  daguerreotype 
print  and  know  the  difficulties  in  doing 
so.  The  sensitive  silver  surface  is  softer 
and  more  difficult  to  handle  than  the 
wet  gelatine  emulsion  on  a  cellulose 
film. 

The  slightest  touch  ruins  the  print. 
We  eliminated  the  idea  of  creating  an 
image  by  the  vapor  of  any  chemical 
because,  while  it  might  be  changeless 
as  far  as  light  is  concerned,  it  is  so 
fragile  because  of  its  soft,  powdery  com- 


Just  One  Camera  Problem 
After  Another 

(Continued  from  Page  269) 

through  into  another  set  and  have  the 
camera  follow  her. 

To  do  this  with  ordinary  trick  proc- 
esses such  as  double  exposure,  stop  cam- 
era or  process,  we  would  have  to  have  a 
stationary  camera.  We  were  almost  in 
despair  when  I  happened  to  run  across 
an  old  book,  published  in  1860,  which 
gave  a  description  of  an  ancient  stage 
trick  with  a  mirror  which  accomplished 
just  this  purpose.  By  reproducing  it 
with  modern  variations,  we  were  able  to 
photograph  the  entire  sequence  without 
once  stopping  the  camera. 

There  is  no  doubt  that  the  advent  of 
Sonja  Henie  in  pictures  has  given  rise 
to  the  invention  and  development  of 
lighting  and  camera  technique  which 
did  not  exist  before  for  the  simple  rea- 
son that  there  was  no  call  for  them. 
Many  of  them  are  applicable  not  only 
to  ice  skating  but  can  be  adapted  to  gen- 
eral use. 

We  do  not  claim  to  have  reached  the 
zenith  of  possibilities,  but  we  have  gone 
a  long  way  in  even  the  short  space  of 
one  year. 


Johnny  Mescall,  A.S.C.,  describes  how 
Sonja  Henie  was  able  to  make  a  quick 
stop  exactly  facing  the  camera  following 
a  fast  whirl.  Ordinary  lights  only  added 
to  the  blur  that  came  with  the  speed 
until  Johnny  tried  a  neon  light.  That 
penetrated  the  haze  and  the  skater  was 
able  exactly  to  time  her  stop.  At  the  top 
of  the  picture  is  a  cable  car  on  tracks 
carrying  two  men  to  enable  illumination 
to  trail  the  speeding  skater  around  the 
huge  skating  rink.  On  the  floor  is  seen 
the  camera  on  ski  runners.  Jack  Woods 
photographed  the  still. 


position  that  even  though  this  is  pro- 
tected with  lacquer  or  other  coatings, 
it  is  still  not  a  permanent  image  from 
this  point  of  view. 

It  became  obvious  as  time  went  on 
that  a  photograph  to  be  permanent 
would  have  to  be  in  the  metal,  in  the 
sense  that  a  coating  or  metal  by  electro- 
deposition  attaches  itself  intimately  to 
the  surface  to  which  it  is  applied. 

This  audience  knows  that  it  is  pos- 
sible to  take  a  sheet  of  copper  or  other 
metal  and  plate  it  with  gold  or  silver 
and  strip  on  to  the  plated  surface  a  car- 
bon tissue  print  or  a  silver  print  made 
by  any  standard  method.  The  perma- 
nence of  this  print  depends  on  the  me- 
dium used  to  cement  the  print  to  the 
metallic  surface. 

It  is  obvious  that  any  substratum  we 
know  about  today  would  hardly  be  con- 
sidered a  base  for  a  permanent  photo- 
graph. ' 

Twenty   Years'  Test 

In  1914  we  succeeded  in  the  creation 
of  chemically  inert  oxide  surfaces  on 
a  sheet  of  metal.  The  metal,  an  alloy 
of  the  non-ferrous  type,  rapidly  yielded. 


when  exposed  to  certain  chemicals,  a 
smooth,  white,  homogeneous  surface. 
We  found  that  this  surface  was  not  only 
changeless  in  exposure  to  light  and  air, 
but  that  it  was  compatible  with  silver 
emulsions  and  other  light-sensitive  me- 
diums later  developed. 

We  have  exhaustively  tested  this  sur- 
face for  over  twenty  years.  It  is  fade- 
less, changeless,  and  permanent.  It 
must  be  remembered  that  this  surface  is 
an  oxide  in  the  metal  itself  and  is  not 
something  painted,  brushed  or  sprayed 
upon  the  metal. 

In  the  year  1915  we  commenced  the 
development  of  photographic  images  on 
the  permanent  white  surface  that  we 
had  created.  The  work  was  difficult  and 
arduous  because  of  lack  of  precedent. 
The  literature  on  photography  on  metal 
is  meager  and  unsatisfactory. 

We  found  after  eighteen  months  that 
the  sensitive  salts  of  silver  and  plati- 
num could  readily  be  adopted,  and  ex- 
cellent results  were  obtained  by  certain 
combinations  of  ammonium  bichromate 
mordants  and  certain  dyes. 

(To  Be  Concluded) 


212      American  ('inemat()(;rapher    •    July,  11)38 


General  Electric  Solves  Needs 
of  Professional  in  Light  Meters 

So  Declares  Executive  of  That  ComDany  in  Discussing: 
Recent  Article  by  Victor  Milner,  A.S.C.,  Which 
Suggested  Cameramen's  Requirements  Await 
Inventor — Adds  No  Technical  Problem  in 
Securing  Meter  A.S.C.  Man  Wants 

By  F.  C.  BOBIER, 

Meter  Division,  General  Electric  Corn  pa  rn/,  Schenectady,  N.  Y. 


THE  writer  was  somewhat  surprised 
on  reading?  the  article  by  Victor 
Milner,  A.S.C,  in  the  June  issue 
of  The  American  Cinematographer,  en- 
titled "Professional's  Requirements  in 
Light  Meters  Awaiting  Inventor."  The 
requirements  set  down  by  Mr.  Milner 
almost  parallel  the  description  of  the 
General  Electric  exposure  meter  which 
appeared  in  the  March  issue  of  the 
American  Cinematographer. 

Perhaps  Mr.  Milner  has  not  read  this 
article,  or  perhaps  the  writer  did  not 
go  into  sufficient  detail  to  bring  out 
the  features  which  are  of  most  inter- 
est to  the  professional  cinematographer, 
but  the  individual  requirements  will  be 
taken  up  here  in  detail. 

Mr.  Milner's  first  point  is  that  the 
scanning  angle  should  be  between  25 
and  30  degrees.  The  General  Electric 
exposure  meter  essentially  meets  this 
requirement,  inasmuch  as  the  true  angle 
is  not  the  same  in  this  design  of  meter 
as  it  would  appear  if  measured  geo- 
metrically. 

Less  Than  30  Degrees 

While  the  measured  horizontal  angle 
is  approximately  60  degrees,  the  design 
of  the  meter  is  such  that  the  meter  has 
what  is  known  as  a  peaked  response 
curve.  In  other  words,  a  light  source 
directly  in  front  of  the  exposure  meter 
exerts  much  more  influence  on  the 
pointer  deflection  than  one  at  the  edge 
of  the  included  scene. 

Thus  the  scanning  angle  effectively 
producing  a  meter  reading  is  much 
smaller  than  the  mechanical  angle  at 
which  light  strikes  the  cell  or  some 
portion  of  it. 

This  is  the  reason  for  the  statement 
in  the  March  article  that  "careful  con- 
sideration has  been  given  to  limiting 
the  light  striking  the  cell  so  that  cor- 
rect exposure  is  obtained  for  either  still 
or  movie  cameras." 

The  mechanical  angle,  in  a  vertical 
direction,  is  about  30  degrees,  and  with 
the  response  characteristics  mentioned 
the  effective  angle  is  much  less  than 
this.  It  is  much  more  important  to  have 
a  small  vertical  angle  than  horizontal 
angle,  since  the  usual  troublesome  fac- 


tors are  either  glare  from  the  ground 
or  bright  light  from  the  sky. 

Two  years  of  use  of  this  meter  before 
it  went  into  production,  coupled  with 
a  year's  experience  with  thousands  of 
them  in  use,  has  thoroughly  convinced 
us  that  about  the  right  compromise  has 
been  selected. 

Second  Requirement  Met 

The  meter  has  worked  so  well  with 
cine  cameras  that  it  seems  unnecessary 
to  put  out  a  special  model  for  movie 
work.  On  the  other  hand,  if  this  is 
not  the  case  the  narrowing  of  the  hori- 
zontal angle  is  a  simple  matter. 

The  second  requirement,  that  "the 
truly  professional  meter  should  have  an 
adequate  hood  or  sunshade  capable  of 
shielding  the  cell  from  unwanted  glare 
from  skies,  expanses  of  sea,  beach,  or 
sunlit  walls  in  exterior  scenes,  and  from 
backlight  and  other  disturbing  rays  in 
interiors,"  is  fully  met  by  the  present 
General  Electric  exposure  meter. 

The  writer's  own  words  in  the  March 
article  were  as  follows:  "The  sliding 
hood  on  the  meter  has  been  designed 
to  give  the  best  possible  directional 
qualities.  Careful  consideration  has  been 
given  to  limiting  the  light  striking  the 
cell  so  that  correct  exposure  is  obtained 
for  either  still  or  movie  cameras. 

"Strong  overhead  light  from  the  sky, 


"Engineering"  in  Schools 

The  Academy  Research  Council's  new 
book,  "Motion  Picture  Sound  Enginee}- 
ing,"  has  been  adopted  by  the  Los  An- 
geles City  Board  of  Education  as  an 
official  text  book  for  use  in  the  city  high 
schools  and  approved  for  purchase  by 
the  city  and  branch  libraries. 

Several  hundred  copies  of  the  book 
already  are  in  use  by  the  Frank  Wiggins 
Trade  School  in  downtown  Los  Angeles, 
and  it  is  expected  other  city  schools  will 
begin  to  use  the  book. 

During  the  month  since  the  first  issu- 
ance of  the  book  the  Research  Council 
has  received  a  great  number  of  favor- 
able comments  on  it,  all  bearing  out  the 
advance  reports  on  the  book  as  the 
finest  publication  of  its  kind. 


unwanted  side  lights  and  strong  reflect- 
ed lights  such  as  from  snow,  all  are 
excluded  sufficiently  so  that  minimum 
of  judgment  is  needed  for  taking  dif- 
ficult shots.  Usually,  it  is  only  neces- 
sary to  point  the  instrument  at  a  scene, 
read  it,  set  the  camera,  and  take  the 
picture." 

The  third  requirement  mentioned  by 
Mr.  Milner  is  of  "high  sensitivity."  The 
General  Electric  meter  is  extremely  sen- 
sitive, but  here  there  is  room  for  argu- 
ment as  to  whether  or  not  it  is  sensitive 
enough.  We  would  very  much  appreciate 
Mr.  Milner's  opinion  as  to  how  much 
more  sensitive  a  meter  should  be  than 
the  present  General  Electric  instrument. 
Can  Increase  Sensitivity 

It  would  not  be  difficult  to  increase 
the  sensitivity  of  our  present  meter 
seven  to  ten  times,  at  a  moderate  in- 
crease in  price.  It  would  be  unneces- 
sary to  change  any  of  the  external  de- 
sign features  except  an  additional  mul- 
tiplier shutter  would  be  needed  in  bright 
outdoor  conditions. 

The  fourth  requirement  is  for  "a  me- 
ter which  can  be  used  interchangeably 
either  for  reflection  readings  as  with 
present  types  or  for  direct  readings  as 
is  the  case  with  the  bulky  instrument 
universally  used  with  the  Technicolor 
process." 

This  is  fully  met  by  the  present  Gen- 
eral Electric  exposure  meter.  The  in- 
strument is  so  designed  that  the  di- 
rectional hood  may  be  removed.  When 
this  is  done,  the  other  part  of  the  ex- 
posure meter  becomes  a  foot-candle 
meter  or  light  meter  for  measuring  di- 
rect light  on  any  surface  or  subject. 
It  is  this  feature  which  enables  the 
photographer  to  use  the  exposure  meter 
in  such  extremely  low  light  intensity. 

Summing  up,  we  believe  that  the  pres- 
ent General  Electric  exposure  meter  will 
meet  the  requirements  as  laid  down  by 
Mr.  Milner  in  his  article.  However,  if 
higher  sensitivity  is  necessary,  or  a  nar- 
rower horizontal  angle  is  necessary, 
there  is  no  problem  involved  in  furnish- 
ing such  a  meter  on  comparatively  short 
notice — provided  there  is  sufficient  mar- 
ket for  it. 


July,  1938    •    American  Cinematographer  273 


MOST 
WIDELY  USED 


ONLY  one  raw-film  factor  matters  much  to 
the  motion  picture  pubHc.  But  that  factor, 
photographic  quahty,  is  the  most  important 
of  all. . . .  Reason  enough  why  Eastman  Super 
X  has  become  the  cameraman's  stand-by... 
the  world's  most  widely  used  motion  picture 
negative  medium.  Eastman  Kodak  Company, 
Rochester,  N.  Y.  (J.  E.  Brulatour,  Inc.,  Dis- 
tributors, Fort  Lee,  Chicago,  Hollywood.) 


EASTMAN  SUPER  A 

PANCHROMATIC  NEGATIVE 


274     American  Cinf.matographek    •    .July,  1938 


Toland  with  20th\s  'Kidnapped'' 
Awarded  Camera  Honors  for  May 


G'REGG  TOLAND,  A.S.C.,  for  his 
work  on  2()th-Fox's  "Kidnapped" 
won  photographic  honors  for  May 
in  the  national  reviewers'  poll  as  record- 
ed in  the  Hollywood  Reporter.  This  is  a 
monthly  event  in  which  the  world's  mo- 
tion picture  correspondents  domiciled  in 
Hollywood  assay  the  productions  released 
durinf?  the  current  month.  Each  nomi- 
nates his  choice  for  best  and  second  and 
third  best. 

On  the  camera  Peverell  Marley,  A.S.C., 
was  a  good  second  for  his  photographic 
work  on  "Alexander's  Ragtime  Band," 
which  incidentally  was  voted  the  best 
picture  of  the  month.  Joseph  Ruttenberg, 
A.S.C.,  was  third  for  his  on  "Three 
Comrades." 

Toland,  it  will  be  recalled,  was  one 
of  the  three  chosen  for  nominees  in  the 
Academy's  photographic  classification 
for  1937.  In  the  April  issue  of  this  mag- 
azine there  was  a  brief  review  of  his 
work  in  pictures  covering  a  period  now 
of  more  than  seventeen  years,  which  be- 
gan incidentally  when  he  was  sixteen 
years  old. 

In  the  same  story  it  was  pointed  out 
that  although  the  cinematographer  had 
spent  all  but  four  years  in  a  business 
way    with    Samuel    Goldwyn    that  ad- 


herence to  one  employer  had  not  de- 
tracted from  the  quality  of  his  work  by 
reason  of  his  failure  to  rub  elbows  and 
ideas  with  men  and  groups  of  men  in 
other  studios. 

At  the  time  the  technicians  of  the 
Academy  were  voting  on  the  three  pho- 
tographic nominees  Toland  was  away 
from  his  home  studio  at  Goldwyn's  and 
making  "Kidnapped"  at  Twentieth- 
Fox.  Here  as  is  customar>-  when 
away  from  his  home  lot,  in  accordance 
with  the  terms  of  his  contract,  he  was 
surrounded  by  the  members  of  his  own 
crew.  So  in  that  very  major  respect  he 
was  (juite  at  home.  These  included  the 
operative  cameraman,  assistant  camera- 
man, gaffer,  best  boy  and  grip. 

Leans  to   Low  Key 

When  the  photographic  choice  of  the 
reviewers  was  asked  as  to  his  own  re- 
action in  a  mental  review  of  the  picture 
following  the  decision  of  the  writers  he 
said  he  recalled  no  especial  factor  in  a 
camera  way.  With  the  exception  of  two 
exteriors  the  subject  was  made  inside. 

The  lighting  of  the  picture  followed 
his  general  custom  of  using  a  low  key 
unless  some  reason  out  of  the  ordinary 
indicated  to  the  contrary.  In  spite  of 
his  preference  for  a  low  key  there  is  no 


hesitation  on  his  part  in  using  lamps 
when  in  his  judgment  there  is  photo- 
graphic occasion. 

There  was  a  time  like  this  in  "Dead 
End,"  the  Goldwyn  subject  which  last 
year  attracted  the  attention  of  the  Acad- 
emy's technicians.  On  the  building  of  the 
main  set  in  the  staging  of  that  subject 
$02,000  was  expended,  requiring  many 
electricians  and  pulling  8000  amperes  on 
nearly  every  scene. 

Toland  is  progressive  and  at  all  times 
alert  to  take  advantage  of  ideas  that  are 
new.  During  the  last  month  there  has 
been  installed  at  the  Goldwyn  studio — it 
was  being  assembled  on  the  22d  of  .lune 


Gregg  Toland 


— a  hydraulically  operated  tripod.  In- 
cidentally it  moves  fast  as  well.  The  hy- 
draulic lift  is  in  four  sections  equally 
divided  as  to  height. 

By  its  use  the  cinematographer  at- 
tains the  same  effect  as  at  present  is 
secured  by  a  low  tripod  and  a  high  one, 
with  the  avoidance  of  the  added  annoy- 
ance of  shifting  the  camera  from  one  to 
the  other  and  then  back  again.  With  the 
new  device,  which  in  the  present  instance 
is  a  Mole-Richardson  tripod  hydraulically 
mounted,  the  lens  may  be  lifted  from  the 
low  point  of  20  inches  to  an  extreme 
height  of  11  feet  6  inches. 

There  is  a  great  future  for  the  hy- 
draulic principle  in  studios,  declares  To- 
land. Now^  being  prepared  for  his  use  at 
the  Goldwyn  studio  is  a  hydraulic  par- 
allel that  will  afford  a  platform  20  feet 
from  the  stage  floor — and  of  course  actu- 
ally the  size  is  controlled  only  by  the 
limitations  of  the  stage. 


Scene  from  Twentieth-Fox's  "Kuhiapped,"  in  which  Gregg  Toland,  A.S.C.,  (behind 
the  camera),  as  director  of  photography  was  given  the  photographic  bouquet  for 
May.    In  another  chair  is  the  director,  Alfred  Werker,  and  standing  before  tlic 
camera  is  Freddie  Bartholomew. 


July,  1938    •    American  Cinematographer  275 


Ace  Newsreeler  Gives  Light  on 
How  He  Films  News  of  the  JV irld 

By  ARIEL  VARGES,  A.S.C., 

Cameraman  on  News  of  the  Day 


TWENTY-THREE  years  ago  I 
stood  beneath  a  broiling  Mexican 
sun  grinding  an  old  English  "Moi," 
recording  the  flight  of  Pancho  Villa.  At 
my  feet  was  a  Graflex,  for  in  those  davs 
we  doubled  in  brass.  It  was  my  job  to 
shoot  stills  for  Hearst  newspapers  and 
"moview"  for  the  youthful  International 
Newsreel. 

I  was  a  cocky  kid  of  twenty-four, 
then  on  my  first  assignment.  Since  then, 
I  worked  in  47  of  the  world's  .52  nations 
pursuing  (an  appropriate  verb)  what  I 
smilingly  refer  to  as  my  career,  so  per- 
haps I  have  some  qualifications  for  giv- 
ing advice. 

Like  many  another  newcomer  in  those 
early  days,  we  shot  by  the  old  trial  and 
error  system  and  hoped  for  the  best. 
In  the  years  that  followed,  I've  often 
looked  back  and  wondered  how  my  nega- 
tive ever  got  by  as  well  as  it  did. 

True,  we  were  getting  constant  and 
ever-widening  experience,  but  experience 
alone — even  23  years  of  it — is  not  enough 
to  meet  the  strict  standards  of  nega- 
tive quality  that  is  demanded  of  us 
today. 

Exposure  Problem  Vital 

Luckily,  newsreel  editors  and  news- 
reel  audiences  were  not  so  critical  then. 
If  we  were  there  when  important  events 
happened  even  a  blurred  or  shadowy 
ghost  record  of  the  scene  would  get  us 
by — provided  no  competitor  popped  up 


Ariel  Varges,  A.S.C.,  consults  his  Weston 
in  the  brilliant  high-altitude  sky.  Of 
course,  he  knows  through  years  of  ex- 
perience what  his  exposure  is  going  to 
he,  but  maybe  he  wants  to  learn  if  the 
meter  does,  too.  He  admits,  though,  that 
in  case  of  doubt  he  folloivs  the  meter. 

with  a  crisp,  properly-exposed  record  of 
the  same  scene! 

Today,  any  cameraman  taking  chances 
of  that  kind  not  only  invites  trouble  but 
deserves  it.  The  growing  use  of  faster 
film  and  faster  lenses,  with  demands  for 
pictures  in  light  varying  from  tunnel- 
like obscurity  in  indoor  halls  and  court- 
rooms to  the  brilliant  reflection  found 
on  a  snow-capped  mountain  where  skiers 
are  showing  their  newest  tricks,  makes 


the  exposure  problem  more  and  more 
vital. 

With  old-time  films  and  lenses,  for 
example,  overexposure  was  generally  the 
least  of  our  worries.  Today,  with  the 
new  super-speed  films  that  have  just 
come  on  the  market,  it  is  perhaps  the 
easiest  mistake  to  make  for  those  who 
try  to  use  their  experience  and  eye-judg- 
ment to  judge  light  conditions. 

Personally,  I  have  long  since  come  to 
regard  an  exposure  meter  as  just  as 
much  a  part  of  my  standard  equipment 
as  a  tripod  and  changing  bag,  and  this 
same  attitude  is  increasingly  general 
among  news  cameramen  the  world  over. 

I  have  had  my  Weston  with  me  under 
all  sorts  of  adverse  conditions  in  Ethi- 
opia, in  Japan,  Palestine  and  in  Spain 
— as  well  as  here  in  the  United  States 
— and  it  has  never  misled  me  yet,  even 
when  the  light  levels  it  recorded  seemed 
contrary  to  what  I  might  have  guessed. 

Japan  to  Ethiopia 

When  the  Ethiopian  trouble  flared,  for 
example,  I  was  in  Japan  on  high  Mount 
Fujiama  where  the  altitude  is  12,000 
feet  and  the  light  is  unusually  bright 
compared  to  lower  altitudes.  Twenty- 
five  days  later  I  set  up  my  tripod  in  the 
dusty  hot  railway  station  at  Jibuti,  in 
French  Somaliland,  and  48  hours  after 
was  clattering  off  to  the  high  cool 
plateau  on  which  lay  Addis  Ababa. 
(Continued  on  Page  2SJ,) 


At  the  left  Ariel  Varges,  A.S.C.,  ace  newsreeler,  is  seen  on  location  in  China.  At  the  right  he  reveals  the  face  of  worry  that 
goes  with  that  of  a  man  who  hunts  a  whale  and  fails  to  spot  even  a  flying  fish.  And  it  just  happens  he  is  plenty  hungry  at 

the  time. 


276     American  Cinematoorapher    •    July,  1938 


Shooting  Technicolor  in  the  Air 
Opens  New  Field  for  A ir  Pictures 

By  CHARLES  A.  MARSHALL,  A.S.C. 


I THINK  I  know  how  Alexander  the 
Great  would  have  felt  if  somebody 
had  showed  him  a  new  world  to 
conquer!  For  a  good  deal  more  than  a 
decade  I  have  been  specializinjf  in  aerial 
cinematog-raphy. 

In  common  with  the  scant  handful  of 
my  fellows  who  man  Hollywood's  flying' 
cameras  I  had  been  wondering  if,  after 
the  flying  thrills  we  lensed  for  such  epics 
as  "Hell's  Angels,"  "Hell  Divers," 
"Dawn  Patrol,"  "West  Point  of  the 
Air,"  "Test  Pilot"  and  others,  there 
could  still  remain  anything  genuinely 
new  in  the  way  of  aerial  scenes  to  film. 

Then  Paramount  assigned  me  to  do 
the  aerial  camerawork  on  its  caval- 
cade of  aviation,  "Men  With  Wings."  It 
is  the  first  aerial  spectacle  to  be  filmed 
in  natural  color. 

And  that  fact  opens  up  new  vistas  for 
aerial  cinematography. 

Color  adds  a  lot  to  ordinary  scenes 
filmed  on  the  ground  and  in  the  studio. 
But  it  adds  vastly  more  to  scenes  filmed 
in  the  air.  The  only  way  you  can  pos- 
sibly describe  it  is  to  say  that  color  gives 
new  life  to  aerial  scenes. 


Consider,  for  instance,  the  difference 
between  scenes  of  air  battles  of  the 
World  War  filmed  in  black-and-white 
and  in  color.  Regardless  of  how  thrill- 
ing the  action  may  be,  you  know  before- 
hand what  you'll  see  on  the  black-and- 
white  screen. 

Realism  Indeed 

Against  a  darkish-gray  filtered  sky 
with  strong  white  clouds,  along  will  come 
a  flight  of  "German"  planes.  They  ap- 
pear black  on  the  screen.  From  another 
angle,  in  comes  a  flight  of  "Allied" 
planes,  which  photograph  white. 

And  there  is  your  picture:  gray  sky, 
white  clouds,  and  black  planes  and  white 
planes  chasing  each  other  about  the  sky. 
The  action  may  be  thrilling,  but  it  is 
still  just  a  picture;  those  out  front  don't 
feel  as  though  they  were  in  the  sky  with 
the  players. 

Now  imagine  the  same  action  as  we 
filmed  it  in  Technicolor.  Your  scene 
opens  with  a  blue  sky  filled  with  white, 
puffy  clouds.  (And  the  makers  of  color 
travelogues  nave  long  ago  found  that 
audiences   will   sit  up  and  take  notice 


at  any  good  color  shot  dominated  by  blue 
sky  and  pictorial,  white  clouds.) 

Into  that  picture  of  blue  and  white 
comes  the  "German"  squadron.  Like 
Richthofen's  real  wartime  squadron, 
these  ships  are  painted  a  wild  assort- 
ment of  colors — red — green — led  ships 
with  green  noses  and  orange  wings — 
blue  ships  with  red  trimmings  and  yel- 
low wings — every  imaginable  color  com- 
bination that  can  shout  "This  is  the  fly- 
ing circus — beware!" 

Colorful  I'icture 

From  the  other  direction  approach  the 
"Allied"  planes.  Some  are  silver,  with 
the  tricolor  cocarde  on  wings  and  tri- 
color stripes  on  tail.  Others  are  camou- 
flaged in  shifty  patterns  of  brown  and 
green,  lightened  with  their  identifying 
cocardes,  squadron  and  individual  em- 
blems, and  so  on. 

Now  mix  these  colorful  ingredients 
well,  as  such  pilots  as  Paul  Mantz, 
Frank  Clarke,  Frank  Tomick  and  World 
War  "ace"  Director  Billy  Wellman  can 
do,  and  you'll  have  a  mighty  colorful 
picture. 

But  you'll  have  more  than  that.  The 
fact  of  having  the  scene  in  color  adds  an 
entirely  new  note  of  reality.  The  color 
gives  a  separation  of  planes,  an  illusion 
of  height  and  actuality  none  of  us  has 
been  able  to  achieve  in  monochrome.  The 
phrase  is  overworked,  but  color  really 
lends  a  semi-stereoscopic  effect  to  scenes 
filmed  in  the  air. 

Some  Problem 

Getting  these  scenes  is  something  of  a 
problem.  In  black-and-white  aerial  cine- 
matography we  can  use  an  Akeley,  a 
Bell  and  Howell  or  a  Mitchell  caraera, 
any  of  which  is  quite  large  enough  to 
give  a  lot  of  wind  resistance  when  you 
have  to  operate  it  from  an  open  plane. 
But  in  this  present  case  we  naturally 
had  to  employ  the  still  larger  and 
heavier  Technicolor  camera. 

To  minimize  the  wind  resisting  area, 
special  magazines  holding  three  500-foot 
rolls  of  negative  in  Technicolor's  usual 
side-by-side  arrangement  were  made.  To 
further  aid  the  cameraman,  special 
hand-grips  were  fixed  to  these  maga- 
zines. 

But  even  so,  these  big  cameras  pre- 
sented so  much  surface  to  the  wind  that 
after  every  shot  I  felt  as  though  I  had 
had  a  workout  with  a  champion  wrestler. 
At  some  angles — especially  when  the 
camera  was  tilted  up  steeply — the  equip- 
ment became  almost  unmanageable.  The 
pressure  of  the  slip-stream  was  stronger 


July,  1938    •    American  Cinematographer  277 


The  Technicolor  camiera  in  a  fixed  mount  on  one  of  the  pursuit  planes  used  iyi 
filming  Paramount' s  "Men  With  Wings."  Photos  by  Hal  McAlpin. 


than  any  force  I  could  exert  on  the  tilt- 
handle. 

Try  Windshield — Once 

One  of  the  first  things  we  tried  to 
remedy  this  was  building  a  special,  big 
windshield  in  front  of  the  camera  cock- 
pit. We  only  tried  it  once!  On  the  first 
test  hop  we  learned  that  the  oversized 
windscreen  disturbed  the  flow  of  air  so 
greatly  that  it  made  the  tail  and  control 
surfaces  "flutter,"  vibrating  until  they 
were  in  danger  of  breaking  away. 

Definitely,  it  is  not  a  nice  experience 
to  find  this  happening  when  your  plane 
is  flying  but  a  few  hundred  feet  from  the 
ground!  Pilot  Mantz  and  I  discovered  it 
while  we  were  too  low  to  use  our  para- 
chutes, and  quite  high  enough  so  we 
knew  the  ship  would  dig  itself  a  deep 
hole  in  crashing. 

The  only  thing  to  do  was  to  get  rid 
of  that  windshield.  I  still  have  some 
scars  to  remind  me  of  what  a  messy 
job  it  is  to  tear  away  solidly  anchored 
sheets  of  pyralin  with  your  bare  hands. 
After  that  we  got  along  without  wind- 
shields for  the  camera! 

We  used  the  cameras  in  a  variety  of 
mounts,  free  and  fixed.  For  the  shots  in 
which  I  had  to  "follow"  action  we  used 
the  regular  Paramount  aerial  mount,  in 
which  the  camera  can  be  traversed 
around  the  cockpit  on  a  sliding  track, 
and  panned  and  tilted  on  its  special  fric- 
tion tilthead. 

For  some  of  the  fixed-mount  shots  we 
mounted  the  camera  on  the  upper  wing 
of  a  plane,  while  in  others  we  placed  it 
on  a  special  mounting  on  the  fuselage, 
near  the  tail. 

In  using  a  Technicolor  camera  on  a 


wing"  mount  it  is  particularly  necessary 
to  be  sure  of  having  a  ship  with  ample 
lift  and  power,  due  to  the  way  the  big 
box  disturbs  the  flow  of  air  around  the 
wing,  and  consequently  the  lifting  power. 
An  ordinary  Bell  and  Howell  or  Mitchell 
will  sometimes  kill  two  thirds  of  the  lift 
of  a  wing;  the  lai'ger  color  camera  can 
reduce  the  lift  even  more. 

Lighting  an  aerial  color  shot  is  not 


greatly  different  from  a  black-and-white 
scene.  A  three-quarter  front  side  light 
is  best.  This  will  give  the  necessary 
modeling  in  cloud  backgrounds,  and  at 
the  same  time  will  give  a  desirably  even 
lighting  on  the  planes  being  photo- 
graphed. 

Lighting  in  the  Air 

As  far  as  the  planes  themselves  are 
concerned,  even  a  .flat  front  lighting  is 
not  bad,  if  it  cannot  be  avoided,  for 
there  are  always  wing  shadows,  and  the 
like,  to  break  up  the  otherwise  uninter- 
esting flatness. 

Clouds  are  as  important  in  a  color 
shot  as  in  a  monochrome  one.  Without  a 
few  clouds  in  the  background,  any  type 
of  aerial  scene  seems  flatter  and  there  is 
less  sense  of  movement.  There  is,  how- 
ever, one  difference  in  a  color  shot  in 
which  you  can  show  the  ground  beneath, 
or  a  mountain  in  the  background.  The 
separation  added  by  color  to  some  ex- 
tent helps  to  serve  the  purpose  ordi- 
narily served  by  the  clouds. 

Lab  at  Disadvantage 

The  exposui'e  technique  of  aerial  Tech- 
nicoloring  is  mastered  easily  enough. 
There  is  one  difficulty  in  this  connection, 
of  course.  In  Technicolor,  the  laboratory 
puts  great  reliance  upon  photometer 
readings  and  ample  photographic  tests. 
In  aerial  work,  the  very  nature  of  the 
work  minimizes  the  value  of  such  tests. 
Both  photometric  readings  and  photo- 
graphic tests  of  Technicolor's  "lily" 
color-chart  have  to  be  made  on  the 
ground,  before  or  after  the  flight,  under 
conditions  which  must  be  much  different 
from  those  of  the  actual  scene.  Also,  the 
usual  scene  tests  have  to  be  made  either 
before  or  after  the  actual  take,  and  con- 
(CoHtirined  on  Page  28)') 


The  big  Technicolor  ccvmera  on  a  movable  7nount  on  the  Lockheed. 


278 


American  CiNr.MATOGRAPHER    •    July,  li)38 


MAKE  YOUR  PICTURES  TO 
PLEASE  THE  MAJORITY 

i'alroii.s  will]  im|><Tf<Tl  vihioii  ri-n|M)iiil 
l<)  iin|>r<)V<-iii<-iits  wliicli  coiitriliiitt;  to 
l  asc  of  vision.  'J'liis  lias  [>rov  c<l  true  in 
respect  to  the  hetler  jiresentalion  of 
|>ic-tures  made  ]>ossil)le  l»y  Simplified 
ilifjli  Intcnsily  projet'tion.  Progressive 
•  •iiiemalograjdiers  recognize  that  this 
iriajorily  group  in  the  theater  audience 
shows  cfjiially  favorable  response  to 
the  im(»roved  clearness  and  definition 
ohlaiiied  hy  the  use  of  carhon  arc 
li<;htiiig  in  motion  j>icture  production. 


Ii<;htiiig  in  motion  j>icture  produt 

NATIONAL  CARBON  COMPANY, 


INC. 


.w- ...I.-. u 




'Uw.  

Irian!:'' 


AND 


General  Offi. 
SlVfS  o"'"^" 


CARBON  ^^30  E«t  —  t..<^i" 


General  Of6c«:^^^^^^  ^^^,^,,,5, 


July,  1938    •    American  Cinematographer  279 


BARNEY  McGiLL  and  J.  O.  Taylor 
shot  the  speedway  classic  at  In- 
dianapolis for  20th  ....  Rudolph 
Mate  goes  to  Universal  for  one  picture 
.  .  .  .  Nominations  for  the  May  Preview 
Poll  award  for  best  photography  for 
the  month  are  Joseph  Ruttenberg  for 
Three  Comrades,  Oliver  Marsh  for  The 
Toy  Wife,  Peverell  Marley  for 
Alexander's  Ragtime  Band,  Leo  Tover 
for  Cocoanut  Grove,  SoL  Polito  and 
George  Barnes  for  Gold  Diggers  of 
Paris,  George  Folsey  for  Hold  That 
Kiss,  John  Mescall  for  Josette,  Gregg 
Toland  for  Kidnapped,  Charles  Rosher 
for  White  Banners  and  Lester  White 
for  Yellow  Jack  ....  Through  the  co- 
operation of  John  Arnold  Lou  Kolb  of 
M-G-M  effects  department  has  invented 
a  new  fog  machine  ....  When  20th 
Century-Fox  distributed  the  recent  golf 
tournament  prizes  Harry  Davis  was 
handed  a  five-dollar  coupon  book  for  a 
lot  of  Davis  bread.  Harry  is  an  apart- 
ment dweller  and  eats  all  of  his  meals 
out,  so  I  guess  one  of  his  coworkers  will 
get  the  prize  ....  Gregg  Toland  wins 
the  Hollywood  Reporter's  Preview  Poll 
of  May  for  the  photography  of  20th 
Century's  Kidnapped  .  .  .  Joe  Rutten- 
berg came  through  with  a  neat  105  in 
the  Warner  Golf  Tournament  ....  John 
Mescall  going  in  for  16mm  color  in  a 
big  way  .... 

Harry  Hallenberger  will  photograph 
Paramount's  Illegal  Traffic  .  .  .  Dan 
Clark  returns  after  a  successful 
trip  to  Callender,  Ont.,  where  he  again 
photographed  the  quintuplets  for  20th's 
picture  Five  of  a  Kind  .  .  .  James 
Howe  does  another  picture  for  Wanger 
.  .  .  R.  O.  Binger  is  in  the  east  doing 
production  and  process  shots  for  Edward 
Small's  picture  The  Duke  of  West  Point 
.  .  .  Gregg  Toland  has  invented  a  gadget 
for  his  key  light.  It  is  a  chain  actuated 
arrangement  that  changes  the  density 
while  standing  on  the  ground  .  .  .  Metro 
is  now  doing  the  processing  for  Gregg's 
picture  .  .  .  Vern  Walker  promises  an 
article  on  the  principle  of  professional 
process  shots  with  illustrations.  Now 
that's  what  I  call  a  break  for  those  who 
read  the  amateur  section  of  this  paper 
.  .  .  Len  Galezio's  hobby  is  collecting- 
stamps  .  .  .  Sid  Wagner  is  on  location  in 
Boystown,  Nebraska,  as  director  of  pho- 
tography on  MGM's  picture  Boystcwn. 
Harold  Lipstein  is  photographing  the 
second  unit  and  Jackson  Rose  has  an 
interesting  and  independent  assigiiment 
with  the  same  gang.  Jackson  is  a  com- 
bination director  and  photographer.  He 
is  'newsreeling'  the  town  that  is  'run'  by 
boys— a  sort  of  March  of  Time  idea 
which  will  show  little  episodes  here  and 
there  depicting  the  lives  of  these  youth- 
ful executives  and  their  method  of  self 
government.  When  Jackson  returns  we 
will  prevail  upon  him  to  tell  of  his  ex- 
periences in  his  own  words  .  .  .  Just 
finished  reading  the  1938  revised  edition 
of  The  American  Cinematographer's 
Handbook,  by  Jackson  Rose.  It  is  com- 
plete and  right  up  to  the  minute  and  is  de- 
serving of  a  place  in  every  photogra- 
pher's hip  pocket  .  .  .  Nick  Musuraca 


WHAT 
ABOUT 
ME.? 

By 

BEE  GEE 


had  his  contract  extended  at  RKO  .  .  . 
John  Fulton,  after  eight  years  at  Uni- 
versal doing  process  photography,  is  de- 
voting a  lot  of  time  to  his  hobby,  which 
is  aviation  theory  and  practice.  John 
has  had  about  five  hundred  hours  in  the 
air,  owns  his  own  "ship"  and  believes  in 
the  air  as  a  safe  means  of  travel  as 
compared  to  our  highways  when  compet- 
ing with  the  Sunday  driver  .  .  .  Who  is 
going  to  photograph  Gone  With  The 
Wind? . . .  John  Mescall,  Ernest  Palm- 
er and  Edward  Cronjager  are  to  report 
to  George  Cave  at  Technicolor  for  train- 
ing some  time  this  month. 

▼ 

The  Press  Says: 

WJiite  B  (inn  cm,  Warner  Bros. — 
"Credits  are  pi'aiseworthy,  including  an 
eloquent  camera  by  Charles  Rosher"  and, 
"Charles  Rosher's  photography  is  super- 
lative." 

Alexander's  Raytime  Band,  20th — 
"Peverell  Marley's  camera  gives  bril- 
liant account  of  his  talent,"  and  ".  .  .  and 
photography  by  Peverell  Marley  is  the 
tops." 

Josette,  20th  —  "John  Mescall  handled 
the  camera  ably,"  and  "John  Mescall's 
photography  is  excellent." 

Two  Gun  Justice — "Jack  Greenhalgh's 
photography  is  tops"  and  "Jack  Green- 
halgh  has  ably  lensed  the  production." 

You  and  Me,  Paramount — "Outstand- 
ing is  the  photography  of  Charles  Lang," 
and  "Charles  Lang  photographed  im- 
pressively." 

Mysterious  Mr.  Moto,  20th  —  "Virgil 
Miller's  photography  is  top-notch,"  and 
"Bows  for  Virgil  Miller  for  his  photog- 
raphy." 

Air  Devils,  Universal  —  "Harry  Neu- 
mann's photography  fits  in  with  the  gen- 
eral average  of  the  picture." 

Toy  Wife,  M-G-M— "Oliver  Marsh's 
photography  is  tops." 

Wives  Under  Suspicion,  Universal — 
"George  Robinson's  camera  work  is 
standard,"  and  "George  Robinson's  pho- 
tography is  in  good  taste." 


Speed  To  Burn,  20th  — "Edward 
Snyder's  photog-raphy  is  excellent." 

Three  Blind  Mice,  20th  —  "Ernest 
Palmer's  photography  has  sparkle." 

Blockade,  Wanger  —  "Outstanding  is 
the  photography  of  Rudy  Mate." 

Highway  Patrol,  Columbia — "Lucien 
Ballard's  photography  is  excellent 
throughout." 

Mystery  House,  Warners — "L.  Wil- 
liam O'Connell's  photography  is  okeh." 

Cowboy  from  Brooklyn,  Warners — 
"Photography  well  handled  by  Arthur 
Edeson"  and  "Photography  is  tops." 

Keep  Smiling,  20th — "Edward  Cron- 
jager's  photography  is  tops." 

Border  G-Man,  RKO— "Excellent  pho- 
tography by  Joseph  August." 

My  Bill,  Warner  Bros. — "Photography 
by  Sid  Hickox  is  excellent." 

Romance  of  the  Limberlost,  Mono- 
gram— "Gilbert  Warrenton's  photogra- 
phy is  up  to  his  usual  high  standard." 

Woman  Against  Woman,  M-G-M — 
"Impressively  photographed  by  Ray 
June"  and  "Ray  June's  photography  is 
first  class." 

Reformatory,  Col. — "James  Brown's 
photography  is  OK"  and  "James  Brown's 
photography  is  tops." 

Pride  of  the  West,  Par. — "Russell 
Harlan  has  handled  the  lens  with  a 
master's  touch"  and  "Russell  Harlan's 
photography  is  tops." 

When  Were  You  Born,  Warners — 
"William  O'Connell's  photography  was 
first  class  throughout." 

City  Streets,  Col. — "Photography  is 
tops"  (Alan  Siegler). 

Prison  Farm,  Para.  —  "Ably  photo- 
graphed" (Harry  Fischbeck). 

Young  Fugitives,  Univei'sal  —  "The 
photography  is  excellent  throughout  and 
is  deserving  of  a  more  ambitious  proj- 
ect." George  Robinson  photographed. 

Danger  on  the  Air,  (Universal) — The 
Hollywood  Reporter  says  the  photogra- 
phy is  tops. 

AltiKvys  Goodbye,  20th — No  press  com- 
ment. 

Algiers,  Wanger-UA — "and  the  cam- 
era work  of  James  Howe  were  great  con- 
tributions and  will  stand  out  in  its  suc- 
cess," and  "Photography  by  James  Howe 
is  excellent." 

Passport  Husband,  20th  —  "Edward 
Snyder's  photography  is  expei't." 

Crime  Ring,  RKO — "Jack  MacKenzie 
has  done  an  excellent  job  on  photogra- 
phy." 

Fast  Company,  MGM — "Camera  work 
by  Clyde  DeVinna  was  good." 

Meridian  7-1212,  20th — No  press  com- 
ment. 

V 

Who's  Who  on  Production 

RKO 

Mother  Cai-y's  Chickens — J.  Roy  Hunt. 
Carefree — Robert  DeGrasse. 
I'm  from  the  City — Frank  Redman. 
Breaking  the  Ice — Russell  IMetty. 
A.fairs  of  Annabel — Russell  Metty. 
Smashing  the  Rackets — Nick  Musuraca. 
Painted   Desert — Harry  Wild. 
Gunpra  Din — Joseph  August. 
Room  Service— J.  Roy  Hunt. 


280     American  Cinematographefj    •    July,  1938 


2{)TH 

My  Lucky  Star 


CENTUKV  FOX 
.John  Mesciill. 
Suez    Peverell  JVIarley. 
Kllis  Island  -  Edward  Cronjaj^fr. 
Mt-ridian  7-1212    Viruil  Miller. 
Straight,  Place  and  Show    Ernest  Palmer. 
Me«-t  the  GirlK — Edward  Snyder. 
Winter  Garden     Virnil  Miller. 
Mr.  Moto  in  Eiiypt — Virnil  Miller. 
Down  to  Elarth     Lu<'ien  Andri(»t. 
Hold  That  Co-Ed.    KolR-ii  Planc:(. 
Safety  in  Numbers    Charles  Clarke. 
Sport  Series  No.  2    Edward  Snyder. 

COLUMBIA 
You  Can't  Take  It  with  You — Joseph  Waike 
Outside  the  Law — Henry  I-'reulich. 
Wild  Bill  Hickok    Ben  Kline. 


The  Gladiator    Georije  Schneiderman. 
I>ady  Lawyer-  Allen  Sieitler. 
Wines  of  Doom — Lucien  Ballard. 
West  of  Santa  Fe — Ben  Kline. 

GRAND  NATIONAL 

Utah  Trail     Francis  Corhy. 

M«M 

Too  Hot  to  Handle    Hal  Rosson. 

The  Great  Waltz    Joseph  Ruttenberpf. 

F'ast  Company    John  Seitz. 

Ix>ve  Finds  Andy  Hardy    Len  .Smith. 

Boystown    Sid  Waiiner. 

The  Chaser    Charles  Lawton,  Jr. 

Just  a  Jiffy    Art  Lloyd. 

Sweethearts — Oliver  Marsh. 

It's  Now  or  Never    Ray  June. 


Coaxial  Cable  Demonstration  by 
Engineers  Proves  Great  Success 


UNITED  ARTISTS 

'ITie  Youni;  in  Heart     Leon  Shamroy. 
The  Lady  and  the  Cowboy    (Jrcwu  Tolaiid. 

UNIVERSAL 

Letter  of  Introduction     Karl  Freund. 
State  Prison — Harry  Neumann. 
Little  ToukH  Guy— Elwood  Bredell. 
Pris(jn  Walls    Harry  Neumann. 
Re<I  Barry--  Jerry  A.sh. 
Road  to  Reno—  Georue  Robinson. 
The  MissinK  Guest — Milton  Krasner. 
Youth  Takes  a  FMing  -Rudolph  Mate. 
That  Certain  A(;e-  Joe  Valentine. 

WARNER  BROS. 

Valley  of  the  Giants — Sol  Polito. 
Girls  on  Probation  -Arthur  Todd. 
Unlawful— Sid  Hickok. 

Three  Girls  on  Broadway — Louis  Wm.  O'Connell 
Head  Over  Heels — Charles  Rosher. 
The  Sisters — Tony  Gaudio. 
Devir«   Island-  George  Barnes. 
Angeles  with  Dirty  Faces  —  Sol  Polito. 

MONOGRAM 

The  Barefoot  Boy    Gilbert  Warrenton. 

PARAMOUNT 
Bulld(Ji;   Drummond   in    Africa     Harry  Fischbeck. 
Booloo — Carl  Berber. 
Spawn  of  the  North — Charles  LariR. 
Mysterious   Rider    Russell  Harlan 
Give  Me  a  Sailor    Victor  Milner. 
Men  with  Wings— Duke  Greene. 
If  I  Were  King— Theodore  Sparkull. 
Zaza — Charles  Lang. 

Artists  and  Models  Abroad — Ted  TetzlafT. 
Touchdown  Army — Henry  Sharpe. 
Return  of  the  Fo.x    Russell  Harlan. 
Arkansas  Traveler — Leo  Tover. 
Paris  Honeymoon  —  Karl  Struss. 

HAL  ROACH 

Meet  the  Missus — Art  Lloyd. 

There  Goes  My  Heart — Norbert  Brodine. 


The  officers  of  the  Pacific  Coast  Sec- 
tion of  the  Society  of  Motion  Picture 
Engineers  were  hosts  of  the  S.M.P.E., 
the  American  Society  of  Cinematograph- 
ers  and  others  identified  with  the  film 
industry  at  the  Filmarte  Theatre  on  the 
evening  of  June  29.  The  occasion  was 
the  projection  of  a  reel  of  motion  pic- 
tures under  the  title  of  "The  Transmis- 
sion of  Motion  Pictures  Over  a  Coaxial 
Cable"  and  the  reading  of  a  paper  de- 
scribing it  by  Dr.  L.  F.  Brown  of  Elec- 
trical Research.  The  author  of  the  paper 
was  H.  E.  Ives  of  Bell  Telephone  Lab- 
oratories of  New  York. 

For  those  members  and  guests  espe- 
cially interested  in  the  latest  laboratory 
technique  and  development  Ralph  B.  At- 
kinson read  a  paper  prepared  by  S.  E. 
Sheppard  and  R.  C.  Houck  of  the  East- 
man Kodak  Company.  It  was  titled  "The 
Influence  of  pH  on  Washing  Films  After 
Processing." 

The  program  stated  the  major  paper 
and  demonstration  were  prepared  and 
arranged  chiefly  because  of  the  subject's 
outstanding  importance  to  engineers  and 
technicians  and  added  officers  of  the  sec- 


tion were  particularly  happy  to  be  able 
to  present  them  at  this  time. 

The  demonstration  was  of  rare  inter- 
est, particularly  the  quality  of  the  pho- 
tography secured  following  translation 
at  the  Philadelphia  terminal  of  the  elec- 
trical impulses  back  to  photographic 
images.  Television  as  a  factor  in  mod- 
ern life  gained  vastly  increased  momen- 
tum in  the  minds  of  those  who  were 
unaware  of  the  significance  contained 
in  the  expression  "coaxial  cable." 

The  motion  pictures  transmitted  over 
the  coaxial  cable  consisted  in  part  of  a 
standard  Paramount  newsreel  as  well 
as  animated  sections  illustrating  the 
techniques  and  equipment  used  in  scan- 
ning the  prints  at  the  New  York  end 
of  the  cable  and  in  translating  the  elec- 
trical impulses  back  to  photographic 
images  at  the  Philadelphia  terminal. 

At  New  York  a  special  scanning  disc 
capable  of  giving  a  240-line  scanning 
with  a  standard  speed  of  24  frames  a 
second  was  used  in  converting  photo- 
graphic images  on  the  film  to  electrical 
impulses  which  were  transmitted  over 
the  coaxial  cable. 

Although  this  is  considerably  below  the 
proposed  441  lines  and  60  interlaced 
frames  a  second,  the  care  taken  in  as- 
suring accurate  transmission  of  all  the 
frequency  components  so  that  correct 
amplitude  and  phase  is  preserved  gives 
the  excellent  results  shown  in  the  demon- 
stration films. 

The  shape  of  the  scanned  picture  was 
chosen  as  7:6.  This  method  of  scanning 
calls  for  a  top  frequency  of  806  k.c.  By 
suitable  modulation  and  elimination  of 
upper  side  bands  the  frequency  range 
from  0  to  806  k.c.  is  transmitted  as 
144  k.c.  to  950  k.c.  over  the  cable. 

At  the  Philadelphia  terminal  after 
suitable  demodulation  and  rejection  of 
upper  side  bands  the  original  frequency 
range  of  0  to  806  k.c.  is  reproduced. 
The  electric  currents  corresponding  to 
this  frequency  range  and  varying  in 
amplitude  according  to  the  transmission 
of  the  original  picture  elements  are 
impressed  on  the  modulating  plates  of 
a  special  five-foot  cathode  ray  tube. 

At  the  same  time  the  cathode  ray 
beam  is  caused  to  traverse  the  whole 
rectangular  area  of  7  inches  by  8  inches 
in  the  fluorescent  field  of  the  tube  in 
(Continued  on  Pa(/e  282) 


MUST  SACRIFICE 

DE  BRIE  SUPER  PARVO 

!>leiv  Type  Ultra  Silent  Camera — 
ISo  Blimp  Necessary 

Has  built-in  motor,  automatic  dissolve, 
pilot  pins  and  antl-buckling  device.  Four 
lOOO-ft.  magaiines — 40  mm.  50  mm.  and 
75  mm.  F2.3  lenses,  De  Brie  upright  finder, 
set  of  front  attachments.  Leather  covered 
carrying  trunk  and  tripod  cover.  It's  the 
latest  type  equipment  .  .  .  like  new! 

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July,  1938    •    American  Cinematographer  281 


A.  S.  C.  Men  as  Blackburn  Guests 
Enjoy  ''''Highlights  and  Shadows'' 


EDWARD  O.  BLACKBURN,  A.S.C., 
was  host  at  the  June  gettogether 
of  the  American  Society  of  Cine- 
matographers,  held  on  the  evening  of 
the  27th  on  the  recording  stage  of  Elec- 
trical Research  adjoining  General  Serv- 
ice Studios.  The  first  part  of  the  evening 
was  devoted  to  screening  three  pictures, 
which  was  followed  by  refreshments  and 
the  customary  gettogether. 

The  pictures  shown  were  United 
States  Steel's  abbreviated  form  of 
"Steel"  in  Technicolor,  photographed  as 
a  feature  last  fall  by  Charles  P.  Boyle, 
A.S.C.,  for  the  Roland  Reed  Productions; 
"Isle  of  Pingo  Pongo,"  a  Technicolor 
comedy  cartoon  short  produced  by 
Schlesinger  for  Warners,  and  "High- 
lights and  Shadows,"  an  industrial  of 
Kodak  Park  and  its  works  produced  by 
the  Eastman  Kodak  Company. 

At  the  close  of  the  screen  program 
Emcee  Blackburn  introduced  "the  young- 
est member  of  my  staff."  As  he  did  so 
he  signaled  to  Jules  E.  Brulatour,  A.S.C. 
The  veteran  film  man  spoke  briefly  and 
feelingly  as  he  looked  from  one  face 
to  another  and  referred  to  the  many 
with  whom  for  so  many  years  there  had 
been  such  cordial  relations. 

"I  hope  it  will  be  my  privilege  to  be 
with  you  for  many  more  of  these  meet- 
ings to  come,"  he  said  in  conclusion. 

Program  to  Order 

The  screen  program  was  one  made  to 
order  for  the  house  it  was  designed  to 
entertain.  The  steel  industrial  subject 
was  an  ideal  one  in  its  classification.  It 
was  a  picturemaker's  picture.  It  had 
everything  that  enters  into  the  making. 
In  each  department  quality  stood  out. 
As  an  example,  Edwin  C.  Hill  was  the 
commentator,  and  presumably  he  wrote 
the  comment,  because  in  conception  and 
delivery,  including  timing,  there  was  no 
flaw.  In  reducing  the  spectacular  sub- 
ject from  five  reels  to  less  the  cutting 
stood  out.  The  fine  photography  of 
Charlie  Boyle  was  much  commented  on. 

"The  Isle  of  Pingo  Pongo"  was  a  de- 
lightful conceit  and  was  a  credit  to  its 
producers  and  distributors. 

The  two  subjects  constituted  a  good 
preparation  for  viewing  "Highlights  and 
Shadows,"  the  bringing  of  the  interiors 
of  the  vast  Kodak  Park  works  out  into 
the  sunlight  and  exposing  to  the  world 
how  Eastman  product  is  made  to  click. 
The  picture  was  photographed  and  pro- 
duced by  J.  Sibley  Watson  Jr.,  A.S.C, 
in  cooperation  with  the  Research  Lab- 
oratories of  the  Eastman  Company  in 
Rochester. 

Mass  and  Detail 
The  accompanying  music  was  by  the 
Symphony  Orchestra  of  the  Eastman 
School  of  Music  under  the  direction  of 
Dr.  Howard  Hanson.  The  orchestral 
score  was  by  Howard  Hanson,  Burrill 
Phillips,  Bernard  Rogers  and  Wayne 
Barlow. 


The  subject  was  a  fine  example  of  the 
value  of  interweaving  scenes  of  mass 
and  detail,  or  perhaps  detail  and  mass 
— of  showing,  for  instance,  the  assem- 
bling of  a  camera  part  by  part  and  the 
steady  extension  of  the  work  until  it 
comprehended  rows  upon  rows  of  cam- 
eras and  the  boxing  and  trucking,  the 
locking  of  the  freight  car  doors  and 
the  turning  of  the  locomotive's  wheels 
starting  the  product  to  the  four  comers 
of  the  world. 

The  part  played  by  machinery  in  mak- 
ing possible  the  production  of  great 
quantities  of  output  was  pressed  home, 
but  sight  never  was  lost  of  the  funda- 
mental principle  that  in  conjunction 
with  the  best  machinery  brains  could 
devise  there  must  be  men  and  women 
of  unusual  intelligence  and  highly 
skilled  in  the  manipulations  of  the  tools 
and   chemicals  provided. 

Goes  Into  Detail 

The  picture  went  into  detail  as  to  the 
making  of  lenses,  of  film  and  all  the 
major  elements  of  the  photographic  in- 
dustry. It  will  make  clear  to  many  per- 
sons many  things  that  were  mysteries 


heretofore — and  especially  does  this  ap- 
ply in  the  manufacture  of  film. 

Film  that  is  not  a  mere  8mm.,  16mm., 
or  35mm.  wide  but  five  feet  wide  and 
running  that  width  unbroken  for  a 
couple  of  thousand  feet  may  be  a  bit 
out  of  the  ken  of  the  average  filmer — 
yet  it  is  a  most  casual  fact  in  Kodak 
Park. 

There  is  bound  to  be  a  wide  field  of 
usefulness  for  entertainment  as  well  as 
for  instruction  in  "Highlights  and 
Shadows."  As  a  motion  picture  it  need 
only  be  said  it  fully  meets  the  expecta- 
tions of  those  who  know  what  the  East- 
man Company  has  achieved  in  system 
and  efficiency  in  the  course  of  a  half 
century  of  research  and  endeavor. 


FAXON  DEAN 

INC. 


CAMERAS 

BLIMPS-DOLLYS 

F4»R  REXT 


MO.  11838 

4516  Sunset  Boulevard 
Night,  NO.  22563 


Camera  Supply  Co. 

FOR 

Efficient-Courteous  Service 

GORDON  BENNETT— MANAGER 
• 

Everything  Photographic 
Professional  and  Amateur 
• 

New  and  Used  Equipment 
Bought— Sold— Rented 
• 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga  Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address — Cameras  |j 


282     American  Cinematographer    •    July,  1938 


Engineers  Are  Hosts 

(Continued  from  Ftiye  280) 

one  twenty-fourth  of  a  second,  the  beam 
sweeping  back  and  forth  over  the  face 
of  the  tube  5700  times  a  second  or  240 
times  for  each  frame. 

The  time  of  each  sweep  across  the 
tube  corresponds  exactly  to  the  time  that 
the  spot  of  light  from  the  scanning  lens 
traverses  the  film.  The  especially  long- 
tube  was  chosen  so  that  over  the  com- 
paratively small  area  of  7  inches  by  8 
inches  there  would  be  practically  no  dis- 
tortion. 

The  images  appearing  at  the  rate  of 
24  frames  a  second  on  the  surface  of 
the  cathode  ray  tube  in  Philadelphia 
were  rephotographed  on  motion  picture 
negative  and  developed  as  an  ordinary 
print.  The  sound  track  which  accom- 
panies the  demonstration  reel  was  trans- 
mitted over  an  ordinary  program  chan- 
nel in  the  same  coaxial  cable  and  re- 
recorded at  Philadelphia. 


Weston  Puts  Out  Stainless 

Darkroom  Thermometer 

To  meet  critical  needs  for  accurate 
temperature  measurement  of  photo- 
graphic solutions,  the  Weston  Electrical 
Instrument  Corporation  has  developed 
an  entirely  new  type  of  thermometer. 

The  new  thermometer  has  a  dial-and- 
pointer  scale  easily  read  with  "on  the 
dot"  accuracy  even  under  dim  darkroom 
safelights.  The  entire  casing  is  of  stain- 
less steel  construction,  with  an  all-metal 
temperature  element  sealed  within  a 
rugged  stainless  steel  stem.  Thus,  it  is 
practically  unbreakable  in  service  and 
corrosion -proof  to  photographic  chemi- 
cals. 

Location  of  the  dial  in  a  horizontal 
position  at  the  top  of  the  stem,  well  out 
of  the  solutions  being  tested,  makes  the 
unit  particularly  convenient  for  use  in 
developing  tanks.  Dial  markings  from 
0  to  180' F.  are  spaced  for  easy  reada- 
bility on  a  (Metal  scale  i)latc. 


A.  E.  Wright 


Wright  with  Bell  &  Howell 

as  Sales-Publicity  Chief 

Bell  &  Howell  Company  announces  the 
appointment  of  A.  E.  Wright  as  man- 
ager of  sales  promotion  and  publicity, 
effective  June  1. 

The  new-comer  has  been  active  in  Chi- 
cago advertising  agency  and  radio  cir- 
cles for  nineteen  years.  Agencies  he  has 
served  as  contact  and  copy  executive  in- 
clude Lord  &  Thomas,  Erwin  Wasey  & 
Co.,  Henri,  Hurst  &  McDonald,  Potts- 
Turnbull  Company  and  Reincke,  Ellis, 
Younggreen  &  Finn. 

Following  a  year  with  the  Columbia 
Broadcasting  System  as  inter-zone  sales 
representative  prior  to  the  establishment 
of  its  Detroit  office,  Wright  served  two 
years  as  radio  director  for  Freitag  Ad- 
vertising Agency. 


Fried  Laboratory  Equipment 

35MM         I6MM  COLOR 
Printers:    Color,    Continuous,    Step,  Optical 
Lite   Testing    Mach'\nei   Developing  Machines 

FRIED  CAMERA  CO. 

6154  Santa  Morrica  Blvd.,  Hollywood,  Cal. 
Cable:  FRIEDCAMCO 


MOVIOLA 

FILM  EDITING  EQUIPMENT 

Used  in  Every  Major  Studio 
Illustrated   Literature  on  request 

MOVIOLA  CO. 

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AND  ALL  ACCESSORIES 

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NE.\R  VINE  STREET  Landers  HE  1311 

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MOLE-RICHARDSON  CO. 

Studio  Electrical  Specialists  Since  1927 
941  No.  Sycamore  Ave..  Hollywood,  California 


July,  1938    •    American  Cinematographer  283 


Shooting  Color  in  Air 

(Continued  from  Page  277) 

sequently  either  before  or  after  the  ships 
actually  fly  through  the  scene. 

This  places  the  laboratory  at  a  con- 
siderable disadvantage,  and  also  puts 
the  cinematographer  definitely  on  his 
mettle.  It  calls  for  close  cooperation  be- 
tween cinematographer  and  laboratoi-y 
if  the  results  are  to  be  uniform  and 
satisfactory. 

One  aspect  of  Technicolor  camerawork 
in  the  air  which  seems  strange  to  a  man 
accustomed  to  monochrome  technique  is 
the  absence  of  filtering.  With  the  rare 
exception  of  the  blue  filter  used  for  arti- 
ficial night  effects,  no  filters  are  used. 

Both  photography  and  weather  condi- 
tions must  therefore  bs  absolutely  right 
if  the  results  are  to  be  as  desired.  As 
more  of  this  work  is  done,  I  would  not 
be  surprised  to  find  interesting  results 
in  color  air  shots  coming  from  the  use  of 
aesculin  and  other  filters  for  eliminating 
haze,  and  pola-screens  to  render  blue 
skies  more  intense;  but  at  present  no 
filters  are  used,  and  the  results  have 
been  most  pleasing. 

Spectacular  Shot 

Certainly,  one  scene  we  filmed  ranks 
as  one  of  the  most  spectacular  I  have 
ever  photographed.  The  camera  ship 
flies  along  level  with  a  formation  of 
"German"  planes.  From  several  thou- 
sand feet  above  a  squadron  of  "Allied" 
ships  power-dive  into  the  formation,  and 
the  two  flights  break  up  into  a  dog- 
fight. 

In  making  this  shot,  the  camera  ship 
was  only  a  few  hundred  feet  from  the 
lower  formation.  The  upper  formation 
had  to    dive   very    accurately,  passing 


COOKE  LENSES 

Easily  passing  tests  far  more 
exacting  than  present  uses 
require,  Cooke  Lenses  bring 
assurance  of  meeting  both 
your  present  and  your  future 
needs.  Speeds  and  focal 
lengths  for  every  need.  Write 
for  descriptive  literature. 

BELL  &  HOWELL 

COM  PANY 

Exclusive  World  Distributors  of 
Taylor-Hobson  Cooke  Cine  Lenses 
1848  Larchmont  Avenue,  Chicago 
New  York:  U  West  42d  Street 
Hollywood:  716  N.LaBreaAvenue 
London:  13-14  Great  Castle  Street 


slightly  behind  the  lower  ships,  and 
naturally  planning  their  dive  very  ac- 
curately to  avoid  collisions.  The  climax 
of  the  scene  comes  as  the  lead  ship  of 
the  diving  formation,  flown  by  Frank 
Clarke,  comes  out  of  its  dive  in  a  loop, 
coming  up  between  the  "German"  ships 
and  the  camera  ship.  On  the  screen  it  is 
extremely  spectacular.  Actually  making 
the  shot,  I  was  more  than  ordinarily 
glad  that  Clarke,  flying  this  attacking 
ship,  was  one  of  the  world's  foremost 
precision  fliers.  At  the  bottom  of  his 
loop,  the  camera  ship  was  hidden  from 
his  view  by  his  own  upper  wings.  Com- 
ing up  into  the  loop  the  camera  ship  was 
still  hidden  from  him,  this  time  by  the 
belly  of  his  ship.  In  other  words,  he  had 
to    fly    that    loop    blind — and  squeeze 


through  less  than  160  feet  between  the 
"German"  ship  and  the  camera  ship!  One 
tiny  miscalculation  and  someone — prob- 
ably a  chap  named  Marshall — would  be 
in  a  bad  way! 

Thanks  to  Clark's  skill,  the  shot  was 
made  without  a  hitch,  and  the  audience 
will  have  a  new  thrill,  greatly  enhanced 
by  color.  But  I'll  admit  I  was  glad  when 
I  got  down  from  that  flight  without  hav- 
ing to  use  my  parachute! 


A  large  American  motion  picture  pro- 
ducer plans  to  establish  distribution 
throughout  South  Africa,  with  major 
houses  in  Johannesburg,  Cape  Town, 
Durban,  Port  Elizabeth,  Pretoria,  East 
London,  and  other  cities  throughout  the 
country. 


•  RENTALS 


MITCHELL- BELLIHOWELL 

CAMERAS 

ACCESSORIES- 


FRANK  ZUCKER 


/CAMERA  EQUIPMENT 


INC 


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MODEL  "H"  16  mm.  SOUND  RECORDING  SYSTEM 

A  PROFESSIONAL  16  mm.  DOUBLE-SYSTEM  SOUND  RECORDING 
EQUIPMENT  FOR  INDUSTRIAL  AND  EDUCATIONAL  TALKING  PICTURES 

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EXACT  SYNCHRONIZATION 

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DRIVEN  CAMERA 

THE  BERriDT-mPURER  corp 

117  EAST  24th  STREET   •   NEW  YORK  CITY 


28-1      Amkrican  Cinf:matographer    •    July,  1938 


Varges  Talks  of  Meters 

(Continued  from  I'dcjc  275) 

The  number  of  miles  between  these 
strange  and  widely  distant  locales 
(Japan  and  Ethiopia)  is  no  greater  than 
the  difference  in  climatic  and  atmos- 
pheric conditions  I  encountered  in  mak- 
ing pictures. 

In  Japan  I  had  bright  light;  in  Kthi- 
opia  I  encountered  extremely  brilliant 
light  owing  to  the  altitude  and  prox- 
imity to  the  equator. 

The  secret  of  operating  a  photo-elec- 
tric   meter   is    to    interpret    the  light 


EYEMO  FILTERS 

ALL  MODEL  EYEMOS  adapted  to 
accommodate  Wrattan  filters  in  indi- 
vidual metal  holders.  Position  be- 
tween rear  of  lens  and  film.  One 
filter  serves  all  lenses,  24mm.  lens  in- 
cluded. 

Holders  readily  interchangeable. 
Wrattan  filters  easily  replaced. 

Complete  camera  modification  (fOC  AH 

including    I   filter  holder  

Additional    filter    holders  2 


each 


Patents  Pending 


National  Cine  Laboratories 

20-22  West  22nd  St.  New  York  City 

Foremost    Motion    Picture  Mechanical 
Laboratories   In   the  East. 


intensity  from  the  point  of  negative 
quality.  This  is  accomplished  only  after 
a  few  tests.  Perhaps  the  most  difficult 
part  is  to  learn  to  follow  the  meter  read- 
ing, and  disregard  the  human  element  of 
thinking  your  exposure  should  read  F8 
whereas  the  meter  reads  F12.5. 

Once  you've  worked  in  the  lowlands, 
and  then  fly  to  a  high  plateau  where  the 
light  appears  normal  but  actually  is  75 
jjorcent  stronger  photographically,  you'll 
soon  find  out  what  I  mean.  In  mountain- 
ous regions  I  have  found  the  meter  read- 
ing to  be  absolutely  correct. 

Meets  Franco 

Strangely  enough,  with  cameras  a  uni- 
versal hobby,  it  is  freciuently  the  little 
exi)osure  meter  which  exacts  the  great- 
est interest.  When  I  left  Ethiopia  I  was 
routed  to  Palestine,  then  settled  dowTi 
in  Paris  for  a  much  needed  rest  when 
orders  came  to  proceed  into  Spain. 

A  few  weeks  later  two  European  cam- 
eramen and  myself  were  grinding  away 
along  the  Nationalist  front  when  a 
cavalcade  of  motorcars  drove  up  and  out 
stepped  General  Franco.  After  taking 
the  salutes  of  his  staff  the  general 
looked  over  to  where  I  was  busily  mak- 
ing pictures. 

Eager  to  grasp  the  first  opportunity 
I  had  had  of  getting  some  exceptionally 
good  closeups  of  the  gentleman,  I  broke 
out  the  Weston  to  take  a  reading.  Now, 
whenever  possible,  I  use  a  meter  from 
two  points  of  vantage:   (1)   a  general 


FILM  TESTED 


Automatic  Developing  Machines 

Soundolas 

Sensitesters 

Reeves-lites 

Variable  Density  Sound  System 
Variable  Area  Sound  System 
Microphone  Boom 
Sound  Accessories 
Laboratory  Accessories 


ART  REEVES 

MOTION   PICTURE  EQUIPMENT 

Cable  Address:  ARTREEVES 
7512  Santa  Monica  Blvd.  Hollywood,  Coliiornia  U.  S.  A. 


reading  for  normal  exposure,  then  (2)  I 
walk  to  say  within  10  feet  of  my  sub- 
ject and  accept  a  balanced  reading  for 
the  quality  of  negative  desired. 

Engrossed  only  in  what  I  was  doing, 
I  blandly  walked  smack  through  a  cordon 
of  soldiers  who  didn't  seem  to  know 
whether  to  relax  their  guard  and  club 
the  daring  foreigner  or  just  let  him 
live.  I  returned  to  the  camera,  made  my 
shots  and  found  the  general  very  much 
interested  in  the  whole  procedure. 

He  smiled,  showed  all  sides  of  his 
soldierly  profile  and  then  came  over  to 
inquire  who  I  was  and  what  I  had  done 
when  I  walked  forward  with  my  little 
gadget.  I  explained  the  meter  to  him 
and  found  him  to  be  quite  a  camera  fan 
keenly  interested  in  pictures  as  a  hobby. 

(The  fact  that  he  maintains  an  elab- 
orate Press-Picture  department  with 
which  he  dispenses  Nationalist  propa- 
ganda is  another  story.) 

Meter   Useful  in  Spain 

This  chance  meeting  and  our  brief  chat 
about  the  workings  of  a  photo-electric 
exposure  meter  proved  a  most  helpful 
entree  and  very  useful  during  my  stay 
in  Spain. 

All  of  which  reminds  me  of  a  photog- 
rapher friend  in  Berlin.  A  hard-working 
little  German,  he  seldom  takes  a  day 
off.  From  dawn  to  exhaustion  he  thought 
only  in  terms  of  pictures.  In  desperation, 
the  office  sent  him  to  Paris — paid  his 
way — insisted  that  he  take  a  vacation. 
On  his  return  the  staff  was  eager.  "Did 
you  have  a  good  time?"  "Oh  yes." 
"What  did  you  see?" 

"Oh,  Versailles,  the  Tower,  the  Seine 
— all  fine  photographic  subjects,"  was 
the  reply. 

"Sure,  sure,"  they  agreed,  and  then 
queried  hopefully,  "but  what  did  vou  do 
at  night?" 

"Oh,  at  night  I  had  to  expose  twice 
as  long." 


Astro 

LENSES 


F  1.8 
F2.3 


for  sale  by 

Mitchell  Camera  Corporation 

665  North  Robertson  Blvd. 
West  Hollywood,  California 


EASTMAN 


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ANNOUNCING.. 


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combines  surprising  simplicity  with  un- 
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141  in  a  refined  form,  incorporating  an  im- 
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gives  a  greater  magnification  of  the  image.  It 
sharply  defines  the  edges  of  the  field  of  view. 
Extraneous  light  is  excluded,  and  elements  are 


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loaded,  ready  to  shoot.  Interchange  film  at  any  time  .  .  . 
a  device  built  into  the  camera  automatically  operates  the 
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BELL  &  HOWE 


protected  from  dirt  and  damage  because  this 
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SINGLE-FRAME  EXPOSURE  device  per- 
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Filmo  141  employs  the  same  lens  mount  as 
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Write  for  complete  details.  Bell  &  Howell 
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London.  Established  1907. 


SEND  COUPON  FOR  INFORMATION  \ 

Bell  &  Howell  Company  AC7-38  | 

1848  Larchmont  Ave.,  Chicago,  Illinois  I 
Please  send  complete  details  about  the  new  j 
Filmo  141. 

Name   --  —   

Address  

City   Stale...  


nMERICAN  CINEMATOGRAPHER 
nMATEUR  MOVIES  SECTION 


'mm 


mm 

\ 


1\ 

\ 


ii^iiinii'iig**^*'^'  ■  - 


WHEN  16  MM.  IS  EQUAL  TO  975  FEET! 


Whether  it's  the  Queen  Mary 
—  975  feet  from  stem  to  stern  — 
or  a  child's  toy  boat  on  a  pond, 
you  want  to  get  a  sequence  that 
sparkles  with  brilliance  and  detail. 

And  you'll  get  it,  too ...  if  you're 
using  Agfa  16  mm.  Fine-Grain 
Pienachrome  Reversible  Film  .  .  . 
the  all-around  film  that  is  equal  to 
any  outdoor  shot! 

This  orthochromatic  film  brings 
you  speed,  sensitivity,  wide  latitude, 


exceptional  brilliance,  and  a  fine- 
ness of  grain  that  permits  large-size 
projection  without  loss  of  detail. 

Get  some  Agfa  16  mm.  Fine-Grain 
Pienachrome  Reversible  today.  It 
means  more  pictures  . . .  and  better 
pictures.  It  is  available  in  100-foot 
rolls  at  $4.50,  and  in  50-foot  rolls 
at  $2.75,  including  processing  and 
return  postage.  Made  by  Agfa 
Ansco  Corporation  in  Bing- 
hamton.  New  Yoric. 


July,  1938 


•    American  Cinematographer  289 


AMATEUR  MOVIE 


SECTION 


SOCIETY 

OF  AMATEUR 

CINEMATOGRAPHERS 


BOARD  OF  REVIEW 

Victor  Milner,  President,  A.S.C.,  Director 
of  Photography  Paramount  Studios,  Acad- 
emy Award  Winner  1935 

TCarl  Struss,  A.S.C.,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award 
Winner  1928 

Fred  W.  Jackman,  Treasurer  American  So- 
ciety of  Cinematographers 

Dan  Clark,  A.S.C.,  Director  of  Photog- 
raphy Twentieth  Century-Fox 

Tony  Gaudio,  A.S.C.,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 
Award  Winner  1937 


Contents.... 


Australian    amateurs    progressive  290 

By  George  Blaisdell 

Airman   catches   color   picture   of  plane's 
rainbow  circled  shadow  291 

No  vacation  more  appealing  than  moun- 
tain pack  trip  with  camera  292 

By  Clifford  A.  Nelson 

Teorey   tells   how   he   titled   his  "Golf 

Widow"  with  bookleaves  296 

By  Robert  W.  Tecrey 

"Sound  Engineering"  splendid  up-to-date 
text  book  297 

Sherlock  of  Sydney  describes  how  he 
edits  and  titles  his  pictures  298 

Film   your   home   guest   in    story  and 

thereby  avoid  sheepish  giins  300 

By  Robert  Teorey 

President  and  vice  president  of  Spencer 
Lens  visit  western  area  301 

Don't  let  the  weather  that  is  "unusual" 
frighten  you  from  color,  says  cam- 
eraman  302 

By  James  Wong  Howe,,  A.S.C. 

Rare  65-pound  quartz  crystal  comes  to 
Bausch  and  Lomb  303 

Amcng  the  movie  clubs  304 

New  Bell-Howell  titler  designed  for  use 
with  Filmo  8mm  307 

Wright  with  Bell-Howell  as  sales-pub- 
licity chief  308 


290     American  Cinematographer    •    July,  1938 


Australian  Amateurs  Progressive 


By  GEORGE  BLAISDELL 


MOVIE  NEWS,  official  organ  of 
the  Australian  Amateur  Cine  So- 
ciety, for  May  has  reached  the 
Cinematofirapher's  sanctum.  Edited  by 
F.  W.  Pratt,  the  booklet  consists  of  12 
5Vi  by  8%  inch  pages  and  four  cov- 
ers. It  reflects  credit  on  its  makers,  with 
its  text  pages  of  eight-point  type  and  its 
reproduction  of  a  full-page  still  picture 
exposed  on  location. 

The  picture  was  made  while  a  troupe 
was  filming  the  present  picture  of  .lame?! 


A.  Sherlock,  "Nation's  Builders."  There 
is  a  suspicion  on  the  desk  where  this  is 
being  written  that  the  grand  prize  win- 
ner of  The  American  Cinematographer 
contest  in  1937  already  is  "laying  his 
pipes"  to  bring  a  first-class  headache 
to  other  contenders  throughout  the  world 
for  the  Cinematographer's  1938  award. 

"Nation's  Builders"'  to  to  be  a  story 
of  the  first  1.^0  years  of  Australia  as  a 
nation.  The  subject  is  in  the  top  of  the 
minds  of  the  men  and  women  who  live 


in  the  Great  Island  just  now,  for  the 
150th  Anniversary  Celebration  has  just 
drawn  to  a  close. 

As  the  editor  of  the  Movie  News  in- 
timates, "its  closing  left  most  of  us  with 
a  wealth  of  film."  But  coming  back  to 
that  Sherlock  picture  for  1938,  as  an 
indication  of  the  care  being  expended 
on  its  making  the  historical  sequences 
are  being  directed  by  Frank  Brooks,  who 
has  undertaken  much  research  to  make 
sure  the  costumes,  make-up  and  action 
are  authentic. 

In  April  members  of  the  A.  A.  C.  S. 
motored  to  Katoomba  and  Mount  York 
to  film  Blaxland,  Lawson  and  Wentworth 
on  their  journey  over  the  Blue  Moun- 
tains, and  a  realistic  film  of  Australia's 
first  successful  exploration  party  re- 
sulted. 

On  Sunday,  May  1.5,  the  same  party 
went   to    BXirragorang   Valley    to  film 


Tliis  is  neither  a  shot  out  of  Alaska,  as 
was  surmised  by  Frank  Good,  A.S.C. 
secretary,  who  was  in  that  country  with- 
in the  year  at  the  head  of  a  Paramount 
camera  crew,  nor  is  it  one  out  of  Scot- 
laivd  as  suggested  by  a  photographic 
dealer.  It  is  an  afternoon  exposure 
across  Bouquet  Canyon  Reservoir,  easily 
ivithin  a  couple  of  score  miles  of  Los 
Angeles. 

The  lake  is  a  creation  of  the  last  half 
dozen  years,  designed  to  replace  the 
body  of  tvater  that  was  dissipated  when 
the  not  so  remote  San  Francisquito  Dam 
went  out — with  the  loss  of  several  hun- 
dred lives  and  much  p^roperty. 

The  spot  is  worthy  the  attention  of  cam- 
era addicts  — •  both  motion  picture  and 
still.  Bouquet  Canyon  parallels  Mint 
Canyon,  main  highway  from  Los  An- 
geles to  the  Mojave  Desert,  a  country 
rich  in  photographic  rwaterial.  To  those 
residents  of  Los  Angeles  who  may  not  be 
aware  of  this  particular  section's  exis- 
tence, its  camera  possibilities,  as  well  as 
to  the  legion  of  tourists  who  may  detour 
to  the  City  of  the  Angels  in  the  course 
of  a  visit  to  San  Francisco's  Exposition 
next  year,  we  recommend  the  inclusion 
of  this  picturesque  combination  of  desert 
and  mountain  in  the  itinerary. 

The  camera  was  hand  held  against  a 
breeze  that  noticeably  rippled  the  waters 
of  the  lake — and  the  more  than  gentle 
roar  from  which  was  weirdly  and  im- 
pressively audible  in  the  otherwise 
silences  of  the  desert  hills. 

Photographed  by  the  editor.  Photo  finish 
by  Pat  Clark. 


July,  1938    •    American  Cinematographer  291 


Hargraves,  Tom,  and  Lister,  discovering 
the  first  payable  gold  in  Australia. 

After  the  first  discovery  was  filmed, 
it  was  hoped  to  shoot  a  scene  showing- 
other  gold  seekers  arriving  in  period 
costumes. 

"A  trophy  will  be  given  for  the  best 
characterization  of  one  of  these  early 
gold  miners,"  states  the  Movie  News. 
"F'amily  parties  are  invited  to  this  fancy 
dress  picnic,  whether  they  are  in  miner's 
costume  or  not,  and  will  be  most  en- 
thusiastically welcomed  if  they  enter 
into  the  spirit  of  the  day  and  come 
dressed  for  the  part.  Transport  will  be 
provided  for  costumed  players.'" 

Australia  may  be  a  long  way  from 
some  communities  esteemed  by  their  in- 
habitants as  being  right  in  the  center 
of  things,  but  it  is  quite  plain  to  one 
person  at  least  that  when  it  comes  to 
making  an  amateur  movie  the  Aus- 
tralians are  asking  no  odds  from  any 
old  town  the  world  around. 

That  the  members  of  the  A.  A.  C.  S. 
achieve  things  and  go  places  is  or  should 
be  easily  understandable  to  one  who 
has  studied  the  craftmanship  of  Mr. 
Sherlock,  one  of  the  vice  presidents  and 
the  publicity  officer  of  the  society.  No 
one  gifted  in  picturemaking  ways  as  is 
this  prize  winner  can  fail  to  be  an  in- 
spiration to  his  fellows,  to  be  an  in- 
centive that  will  spur  to  emulation,  to 
surpass  him  in  open  competition. 

Beyond  question  these  Australians 
have  a  great  organization.  That  may 
be  sensed  by  those  on  the  other  side 
of  the  world.  This  last  spring  they  have 
removed  their  quarters  to  larger  and 
well-equipped  rooms  at  Science  House, 
Gloucester  street,  Sydney.  Their  meet- 
ings are  held  the  first  and  third  Mon- 
days. 

Australia  is  a  motionpicturewise  coun- 
try. Figures  released  during  the  present 
month  claim  that  the  nearly  seven  mil- 
lion persons  living  on  the  island  visit 
motion  picture  theaters  practically  once 
a  week  on  an  average.  In  such  a  com- 
paratively thinly  settled  country  it  does 
not  seem  possible.  But  these  are  the 
figures. 

The  Movie  News  tells  of  the  drive  be- 
ing made  for  members  by  President  R. 
F.  Scott  and  Secretary  D.  R.  McDonald 
of  the  Queensland  Amateur  Cine  Society. 

For  the  contest  that  closes  July  31  the 
decision  will  be  based:  For  photography, 
3.5;  general  interest,  30;  editing,  25; 
special  eff'ects,  10.  That  is  a  working 
basis  that  must  appeal  to  many  who 
have  puzzled  over  a  schedule  that  would 
keep  in  the  forefront  the  importance  of 
the  entertainment  factor — its  "general 
interest."  Here  photography  and  gen- 
eral interest  rate  65  percent.  And  that 
sounds  good. 

The  Victorian  Amateur  Cine  Society 
was  active  through  the  spring.  The  April 
meeting  was  devoted  to  9.5mm.  films  ex- 
clusively. Recently  a  half  dozen  carloads 
of  members  went  to  Hanging  Rock,  fifty 
miles  from  Melbourne,  to  make  a  club 
film,  "Held  to  Ransom." 

In  the  May  Movie  News  also  is  a  re- 


port of  a  short  address  on  "Editing  and 
Titling"  given  by  Mr.  Sherlock  at  the 
current  meeting  of  the  A.  A.  C.  S.  As 
we  say  here  in  the  states,  editing  and 
titling  are  "right  down  Sherlock's  alley." 
In  his  approach  to  that  subject  or  sub- 


jects there  is  nothing  of  the  amateur. 
He  is  full-fledged.  So  for  the  benefit  of 
those  amateurs  who  never  overlook  any 
genuine  advice  on  means  to  improve 
their  editing  ability  we  are  taking  the 
liberty  of  reprinting  the  address. 


Airman  Catches  Color  Picture  of 
Plane  'v  Rainbow  Circled  Shadow 


UNDER  the  title  cf  "Specter  of  th? 
Brocken"  Stith-Noble  Corporation 
of  Hollywood  is  assembling  and  duping 
and  setting  to  sound  a  1200-foot  length 
16mm.  Kodachrome  subject  which  so  far 
as  is  known  will  contain  a  sequence  a 
parallel  to  which  was  never  before  pho- 
tographed, in  color  anyway. 

That  is  the  picture  of  a  rainbow  out- 
lined in  the  form  of  a  complete  circle 
against  a  mass  of  white  clouds — not  in 
the  orthodox  semi-circular  arched  rain- 
bow to  which  earthbound  mortals  are 
familiar. 

Into  that  circle  for  a  moment  flashes 
the  shadow  of  a  Western  Air  Express 
plane,  a  phantom  as  weird  as  it  is  dis- 
tinct and  thrilling.  It  is  a  spectre  within 
the  grip  of  a  spectrum,  or  another 
spectre  if  you  will. 

The  plane  is  11,000  feet  above  sea 
level,  on  the  Los  Angeles-Salt  Lake  run, 
elevated  like  that  Brocken  in  the  Harz 
Mountains  to  which  the  term  owes  its 
birth.  The  picture  has  had  particular 
interest  to  Richard  Stith,  secretary  of 
the  Los  Angeles  Cinema  Club,  and  a 
member  of  the  company  executing  the 
consignment  on  the  film. 


Stith  is  a  flier,  with  approximately 
three  thousand  hours  to  his  credit.  Not 
only  is  he  interested  in  the  subject  from 
its  photographic  side,  but  in  the  fact  that 
in  his  air  experiences  he  has  several 
times  witnessed  the  Spectre  of  the 
Brocken.  Never,  however,  has  he  wit- 
nessed it  when  he  held  a  camera  poised 
and  ready  to  shoot.  Nor  has  he  ever  be- 
fore known  of  anyone  else  who  has. 

So  in  the  present  instance  his  con- 
gratulations went  to  Hugh  Coburn  not 
only  for  having  his  camera  at  hand  but 
for  his  rare  judgment  in  picking  his 
quickly  chosen  exposure.  There  was  no 
opportunity  for  the  use  of  a  light  meter. 
It  was  a  quick  guess  and  a  slam,  for  the 
Spectre  is  on  and  as  promptly  is  off 
again.  ; 

The  picture  that  will  form  the  setting 
for  "The  Spectre  of  the  Brocken"  is  a 
travelog  exposed  on  the  line  of  the 
Western  Air  Express,  from  San  Diego 
south  and  Glacier  National  Park  north. 

When  sound  has  been  added  to  its 
fine  color  and  excellent  photography 
the  subject  will  constitute  a  film  of 
unusual  quality. 


Here  is  the  airman's  version  of  "The  Spectre  of  the  Brocken,"  in  ivhich  he  sees  the 
shadow  of  his  own  plane  rimmed  by  a  circular  rainbow.  There  was  but  a  moment  to 
grab  his  camera  loaded  with  Kodachrome  and  secure  several  feet  of  it.  Herewith  is 

an  enlargement  from  16mm. 


292      Amekican  ('inematockai-her    •    July,  1938 


No  V ication  More  Appealing  Than 
Mountain  Pack  Trip  with  Camera 

So  Declares  Expert  Visual  Recreationist  in  Story  De- 
scribing Making  in  Color  in  High  Sierras  of  'Trail 
Song,"  16mm.   Subject  Viewed  by  Hundred 
Thousand  Persons  —  Now  Producing  Film 
for  Showing  at  Golden  Gate  Fair 

By  CLIFFORD  A.  NELSON 

Sniierviaor  Visual  Recreation 
San  Francifico  Recreation  Commission 
niiistrcttions  iticli(din(/  those  on  pac/e  hij/oiit  are  from  enlargements  of  Mr.  Nelson's 

national  park  Kimm.  films 


WE  often  read  of  spectacular  at- 
tempts to  scale  very  difficult 
peaks.  If  the  members  of  the 
climbing  party  survive  the  ordeal  they 
"contribute  to  science";  if  they  don't 
survive  they  contribute  to  the  long  sad 
list  of  those  who  sacrificed  their  lives 
because  "mountain  is  mightier  than 
man." 

Of  course  it  is  not  on  these  mountains 
that  the  writer  will  encourage  the  ama- 
teur cinematographer  to  carry  a  collec- 
tion of  cine  and  still  cameras,  a  bat- 
tery of  lenses,  films  and  tripods.  In- 
stead, we  have  innumerable  possibilities 
to  enjoyably  photograph  scenic  wonders 
that  are  close  to  our  owti  backyards. 
Nowhere  will  you  see  the  majestic 
operations  of  nature  more  clearly  re- 
vealed than  beside  the  frailest,  most 
gentle  and  peaceful  things.  Nearly  all 
the  park  is  a  profound  solitude.  Yet  it 
is  full  of  charming  company,  full  of 
God's  thoughts,  a  place  of  peace  and 
safety  amid  the  most  exalted  gran- 
deur and  eager  enthusiastic  action;  a 
new    song,    a    place    of  beginnings 
abounding    in    first    lessons    on  life. 


mountain-building,  eternal,  invincible, 
unbreakable   order;   with   sermons  in 
stones,  storms,  trees,  flowers  and  ani- 
mals of  brimful  humanity. — John  Muir 
on  Yosemite  National  Park. 
In  the  opinion  of  this  writer  there  is 
no  trip  within  the  limits  of  an  average 
vacation  period  that  is  more  appealing 
to  a  moderately  rugged  sportsman  than 
a  mountain  pack  trip. 

Paradise  Indeed 

In  most  of  the  national  parks  the  hiker 
can  enjoy  miles  and  miles  of  beautiful 
trails,  where  there  are  flowery  valleys 
filled  with  giant  trees;  where  great 
waterfalls  plunging  over  precipitous 
cliffs  frown  on  delicate  fairy-like  brooks; 
where  the  shy  creatures  of  the  forest 
seem  to  welcome  the  sight  of  a  knap- 
sack; where  the  dashing  trout  tempt 
the  fisherman;  where  the  gleaming  stars 
seem  to  descend  to  join  the  evening 
campfire  program,  and  where  majestic 
peaks  with  their  glaciers  and  gleaming 
snow  banks  make  all  other  great  things 
look  small. 

The  horseback  rider,  even  though  he 


be  inexperienced  with  horses,  will  enjoy 
these  wonders  with  the  added  comforts 
of  convenient  transportation  over  the 
rugged  trails.  Although  it  is  possible  to 
merely  indicate  a  few  suggestions  in  this 
article,  the  photographer  has  no  end  of 
opportunities  to  photograph  beautiful 
pictures  and  to  plan  interesting  continu- 
ities so  that  his  motion  pictures  really 
tell  a  story. 

It  was  with  this  last  feature  in  mind 
that  the  writer  was  asked  to  present  a 
description  of  how  "The  Trail  Song" 
was  produced.  Therefore,  this  article  will 
feature  a  procedure  for  telling  the  pack 
trip  film  story,  and  will  also  include  a 
few  fundamental  suggestions  for  color 
photography  in  the  mountains. 

"Trail  Song"  Superb  Picture 

Although  "The  Trail  Song"  was  con- 
sidered an  outstanding  film  by  the  Hol- 
lywood Motion  Picture  Forum  and  was 
very  well  received  during  its  presenta- 
tions to  more  than  100,000  San  Fran- 
cisco people  during  the  last  year,  the 
writer  is  not  satisfied  that  the  picture 
is  the  best  that  can  be  attained,  in  spite 
of  limitations. 

We  learn  much  by  experience,  and  dur- 
ing my  many  presentations  I  am  very 
conscious  of  the  improvement  that  could 
be  made  on  the  next  film. 

For  this  reason  I  am  combining  the 
description  of  "The  Trail  Song"  with 
the  ideas  for  the  new  motion  picture 
which  is  to  be  taken  between  July  15 
and  August  1  for  showings  at  the  Golden 
Gate  Exposition.  It  will  be  one  of  the 
features  of  the  Visual  Recreation  pro- 
gram, for  which  I  am  also  preparing 
color  motion  pictures  of  various  recrea- 
tion subjects. 

Responsibilities  Many 

Before  going  on  with  the  description 
it  might  be  well  to  inform  the  readers 
that  on  my  mountain  trips  I  am  subject 
to  even  more  irregularities  and  diffi- 
culties than  the  average  amateur  cine- 
matographer on  a  vacation  trip. 

In  the  first  place,  the  trip  has  always 


been  primarily  an  outing  for  about 
twenty  boys.  They  are  always  "on  the 
hop,"  and  it  would  be  unreasonable  to 
exhaust  their  patience  by  interrupting 
their  journey  every  time  an  opportunity 
to  take  pictures  presents  itself. 

This,  of  course,  makes  the  matter  of 
anticipating  a  scenario  rather  difficult. 
As  the  leader  of  the  party  I  have  always 
been  responsible,  without  the  assistance 
of  any  counsellors,  for  all  of  the  cooking, 
packing,  first  aid,  etc.  as  well  as  for  the 
photography. 

Although  the  boys  mean  to  help  with 
the  work  as  much  as  possible  this  re- 
sponsibility leaves  me  with  little  time 
to  sit  down  to  plan  "aesthetic  composi- 
tions." Other  irregularities  that  we  en- 
counter are  storm  conditions,  delays  with 
pack  animals,  etc. 

Sometimes  it  is  necessary  for  me  to 
revise  the  entire  picture  scheme  accord- 
ing to  a  new  plan,  even  though  a  definite 
scenario  and  continuity  had  been  antici- 
pated before  the  trip  was  started. 

I  do  not  wish  to  give  the  impression 
that  this  or  any  other  vacation  trip 
would  be  full  of  diflficulties  and  hard- 
ships; I  merely  mention  these  things  to 
indicate  it  is  quite  possible  to  make  the 
most  of  photographic  opportunities  on  a 
pack  trip,  regardless  of  a  few  difficulties 
which  might  appear  discouraging. 

List  Your  Necessities 

In  planning  a  pack  trip  we  first  choose 
a  place  and  outline  an  itinerary.  The 
National  Park  booklets  and  the  govern- 
ment topographic  maps  will  be  indis- 
pensable aids.  Whether  or  not  you  will 
take  pictures,  don't  be  too  ambitious  and 
attempt  to  cover  too  much  territory. 

Remember  that  it  is  familiarity  with 
what  you  see  and  not  mileage  that  con- 
tributes to  a  general  appreciation  of  the 
outing.  I  have  heard  many  a  friend 
mention  that  he  made  such  and  such  a 
peak  in  so  many  minutes  flat!  So  what? 

Before  leaving  on  a  pack  trip,  we  first 
write  down  a  systematic  list  of  all  nec- 
essary food  and  equipment.  The  food 
is  of  prime  importance.  Without  a  well 
balanced  diet  your  companions  will  de- 
velop bad  dispositions  and  the  pictures 
will  most  probably  be  doomed  for  over 
or  under  exposure  or  some  other  acute 
condition. 

On  a  mountain  pack  or  saddle  trip 
the  kayaks  and  knapsacks  will  contain 
foods  that  have  a  minimum  amount  of 
weight  but  yield  the  maximum  amount 
of  energy.  Usually  they  are  dried, 
canned  and  dehydrated  foods  that  will 
not  perish. 

Although  this  article  primarily  is  not 
a  dissertation  on  foods,  I  might  mention 
briefly  a  few  sample  camp  meals  that 
will  "make  better  pictures." 

Easy  to  Take 

A  breakfast  consists  of  dried  fruit, 
which  may  be  stewed;  a  cereal  or  hot 
cakes,  ham  or  bacon,  hot  chocolate  or 
coffee.  This  breakfast  will,  of  course, 
be  prepared  over  the  campfire. 

Before  breaking  up  camp  the  lunch 
will  be  set  aside  and  will  be  placed  out- 
side the  packs  so  that  it  can  be  con- 


veniently opened  anywhere  along  the 
trail. 

It  will  consist  of  dried  fruit,  cheese 
or  chocolate,  hardtack,  punch  made  from 
some  extract  combined  with  pure  moun- 
tain water,  and  a  snack,  which  may  be 
canned  fish  or  meat,  peanut  butter,  jam, 
etc. 

The  dinner  will  be  prepared  after  mak- 
ing camp  and  will  consist  of  hot  soup 
(made  from  extracts  such  as  bullion 
combined  with  the  juices  of  the  vege- 
tables, vegetable  mix,  noodles,  etc.),  a 
canned  or  dehydrated  vegetable  and  the 
main  course.  Examples  of  the  latter  are 
canned  beef  or  corned  beef,  sausages, 
tongue,  sphagetti,  Spanish  rice,  creamed 
macaroni  and  cheese,  etc. 

This  will  be  "topped  off"  with  a  bev- 
erage and  a  dessert  such  as  tapioca  or 
prepared  pudding  mixes,  candy  or  canned 
desserts.  Biscuits  can  be  made  in  a  re- 
flector, collapsible,  or  dutch  oven.  Many 
interesting  food  combinations  can  be 
mixed  over  the  campfire. 

The  next  important  procedure  is  to 
list  all  the  necessary  equipment.  Fac- 
tors of  utility  and  weight  are  of  prime 
importance.  Again,  it  is  impracticable 
to  mention  all  the  necessary  items,  but 
such  things  as  a  grate,  can  openers,  a 
nest  of  pots  and  individual  eating  uten- 
sils top  the  list. 

First  Aid  Includes 

A  good  sleeping  bag  with  a  wool  filler 
is  indispensable  in  the  higher  elevations 
where  one  might  wake  up  in  the  morning 
and  find  frost  on  the  ground  and  ice  on 
the  water.  Personal  items  should  be  re- 
duced to  a  minimum. 

The  first  aid  kit  should  include,  in  ad- 
dition to  the  conventional  bandages  and 
sterilizing  items,  a  few  special  things 
to  take  care  of  emergency  illnesses.  If 
The  Cinematographer's  readers  are  inter- 
ested in  getting-  more  complete  details 
for  planning  their  motion  picture  pack 
trip  they  may  get  practical  suggestions 
in  such  magazine  as  Outing  Club  jour- 
nals for  food  supplies.  Boy  Scout  and 
Sporting  Goods  catalogues  for  camping 
equipment  and  the  American  Red  Cross 
handbook  for  first  aid  equipment. 

Assuming  the  trip  has  been  well 
planned  and  all  of  the  materials  and 
supplies  have  been  double  checked  we 


are  now  ready  to  leave  on  our  pack  trip. 
Although  our  entire  country  is  rich  in 
scenic  wonders  the  Sierra  Nevada  Range 
is  the  choice  of  many  Californians  be- 
cause of  its  proximity  to  the  cities. 

There  are  many  locations  on  both  the 
east  and  west  slopes  of  the  Sierra  where 
animals  are  available  for  rent  or  for 
sale,  and  where  we  could  begin  our 
journey  into  the  Sierra.  However,  we 
select  Yosemite  Valley  as  a  starting 
place  because  of  the  fact  that  all  along 
the  trail  we  are  within  a  safe  distance 
to  help  in  the  event  that  any  emergency 
situation  should  arise. 

Packing  the  Burros 

In  "The  Trail  Song"  we  opened  the 
film  showing  the  boys  packing  the  bur- 
ros. The  kayaks  are  filled  with  supplies 
— and  then  are  hung  on  the  pack  sad- 
dles. Over  these  we  place  the  sleep  bags, 
and  finally  the  canvas  is  thrown  over  the 
entire  pack  and  the  ropes  are  tied.  The 
boys  are  still  trying  to  learn  the  "dia- 
mond hitch." 

Our  first  trail  thrills  are  the  sights  of 
the  waterfalls.  In  the  movies  we  fea- 
tured interesting  interpretations  of  the 
water  rather  than  the  usual  "post  card" 
scenes.  One  waterfall  shot  was  intro- 
duced by  the  quotation:  "Like  a  torrent 
of  massive  comets." 

Then  followed  a  vertical  panorama 
showing  the  water  plunging,  like  a  mass 
of  molten  silver,  over  the  cliff;  then  fol- 
lowed the  formations  of  comets,  and 
finally  the  panorama  was  climaxed  with 
a  scene  of  the  water  pounding  against 
the  rocks  below,  creating  a  heavy  mist. 

Intimate  telephoto  shots  depicted  the 
colors  of  the  rainbows  on  the  mist.  Most 
photographers  should  find,  as  we  did, 
that  a  little  extra  thought  and  observa- 
tion will  unfold  countless  opportunities 
for  original  interpretations  of  the  ever 
appealing  water  scenes. 

Exposure  on  Waterfalls 

In  "The  Trail  Song"  we  were  fortu- 
nate enough  to  get  a  picture  of  a 
sparkling  waterwheel  with  a  buck  feed- 
ing on  the  grass  on  the  other  side  of  the 
river.  Then  we  followed  with  a  close- 
up  of  the  waterwheel  in  slow  motion.  In 
the  resulting  picture  one  could  almost 
see  the  individual  bluish-white  droplets 


294     American  Cinkmatocuapher    •    July,  1938 


July,  1938    •    American  Cinematographer  295 


of  water  glittering  like  jewels  in  the 
sunlight. 

A  few  suggestions  concerning  photo- 
graphing waterfalls  are  as  follows:  The 
water  will  usually  require  less  exposure 
than  a  general  meter  reading  will  indi- 
cate. 

Therefore,  it  is  advisable  to  take  the 
reading  as  close  to  the  water  as  possible 
in  order  to  avoid  overexposure  and  the 
resulting  loss  of  color  quality.  With  re- 
gards to  panoraming,  the  writer  happens 
to  be  one  of  those  who  is  rather  "fed 
up"  on  abuses  of  amateur  panoramic 
procedures. 

Therefore,  he  is  very  conservative  in 
his  recommendations  in  this  respect. 
However,  the  high  waterfalls  in  some 
of  the  National  Parks  can  be  very 
beautifully  photographed  in  a  down- 
ward "pan."  Although  a  tripod  is  rec- 
ommended for  nearly  all  occasions,  it 
may  be  advisable  to  hold  the  camera  in 
the  hand  while  panning  waterfalls, 
especially  if  the  entire  field  of  pan- 
ning takes  in  both  a  vertical  and  hori- 
zontal motion. 

It  will  be  noticed  that  we  do  not  in- 
clude many  pictures  of  the  Yosemite  Val- 
ley. Due  to  the  length  of  the  film,  as 
well  as  to  the  fact  that  the  Yosemite 
Valley  proper  has  been  seen  and  photo- 
graphed by  so  many  persons,  we  omit 
these  more  familiar  scenes  and  start 
our  picture  with  the  beginning  of  the 
pack  trip,  which  leads  us  into  the  more 
rarely  seen  high  mountain  country. 

Portraying  the  Camp 

During  the  entire  film  we  try  to  create 
a  pleasant  balance  of  scenery  and  action 
by  introducing  as  many  activities  as  pos- 
sible. Therefore,  following  this  series 
of  waterfall  scenes  we  film  the  organi- 
zation of  our  first  camp.  Here  we  con- 
centrate on  a  series  describing  the  pro- 
cedure for  preparing  and  cooking  dinner. 

In  the  new  Exposition  film  we  will 
try  to  describe  one  entire  breakfast  and 
dinner  in  detail,  as  cooked  over  a  camp- 
fire.  At  camp  we  include  action  pictures 
of  fishing.  It  is  sometimes  possible  in 
quiet  waters  to  get  telephoto  shots  of 
fish  swimming  in  the  water. 

The  exciting  climax  happens  when  the 
trout  is  pulled  out  of  the  lake  or  stream. 
This  series  is  followed  with  close-un 
shots  of  preparing  and  cooking  the  fish 
over  the  campfire.  A  few  suggestions 
regarding  the  photographing  of  these 
camp  close-ups  are  as  follows: 

At  all  times  it  is  necessary  for  the 
"actors"  to  be  totally  unconscious  of 
the  camera.  With  the  exception  of  di- 
recting them  to  register  a  pleasant 
expression  occasionally,  it  is  very  im- 
portant to  caution  them  not  to  go  into 
any  of  the  self-conscious  antics  of 
"showing  off"  that  are  so  prevalent 
in  the  so-called  "rank  amateur"  films. 

The  first  few  times  that  "posey"  films 
are  viewed  the  friends  look  rather 
"cute,"  but  after  running  them  a  few 
more  times  the  photographer  will  in- 
variably regret  that  he  did  not  concen- 
trate the  attention  of  his  actors  on  the 
beautiful   trout  they  were  cooking  or 


some  other  natural  feature  the  appeal  of 
which  is  everlasting. 

With  reference  to  light,  it  might  be 
well  to  mention  that  the  light  in  the  high 
mountains  is  more  intense  than  one 
would  expect.  The  meter  should  be  very 
carefully  used,  and  the  photographer 
should  calculate  his  exposures  very  ac- 
curately. 

Avoid  Contrasts 

Extreme  contrasts  of  light  and  dark 
objects,  such  as  light  and  dark  clothing 
or  white  granite  and  dark  figures,  should 
be  avoided.    If  the  photographer  wishes 
to  get  pictures  that  are  uniformly  satis- 
factory, he  should  remember  that  there 
are  some  combinations  of  light  and  color 
that    cannot    be    satisfactorily  photo- 
graphed in  color  on  account  of  the  pres- 
ent limitations  in  latitude  of  color  film. 
Intelligent  use  of  the  meter  will  in- 
dicate these  extreme  conditions.  One 
should  not  be  afraid  of  shade.    If  the 
lens  is  sufficiently  fast  to  record  the 
light  that  is  present,  rich  results  can 
be    obtained    in    uniformly  subdued 
light. 

The  most  difficult  lighting,  in  the 
opinion  of  the  writer,  is  the  so-called 
"checkerboard"    or    spotted  lighting. 
Although  this  condition  can  be  very 
rich    in    black-and-white    film    it  is 
rather  dangerous  to  attempt  it  with 
the  use  of  color  film. 
While  on  the  subject  of  photographing 
camp  pictures,  it  might  be  well  to  men- 
tion that  night   campfires  photograph 
very  beautifully  on  Kodachrome.  How- 
ever, the  size  and  intensity  of  the  camp- 
fire  is  of  considerable  importance.  The 
Indians  would  say:    "White  man  make 
big  fire,  him  stay  away;  Indian  make 
small  fire,  him  come  close." 

It  so  happens  that  the  photographer 
has  to  combine  the  habits  of  the  white 
man  and  the  Indian  to  make  "big  fire  and 
come  close."  Otherwise  he  would  just 
get  a  small  red  spot  in  the  middle  of 
the  picture. 

Campfires  in  Color 

In  photographing  "The  Trail  Song" 
even  experienced  amateur  color  photog- 
raphers were  amazed  at  the  quality  of 
our  fire,  and  the  writer  was  asked  what 
special  "trick"  was  used. 

We  simply  made  a  large  campfire  and 
photographed  it  close  enough  so  that  the 
fire  filled  the  picture  area.  Humorous 
incidents  naturally  occuring  in  camp 
add  much  to  the  interest  of  the  story. 

Following  this  sequence  of  camp  action 
our  scenics  include  a  few  sunsets  with 


To  the  Far  Comers,  Too 

Johannesburg,  South  Africa. 
To  the  Editor: 

I  would  like  to  mention  that  I 
am  extremely  satisfied  with  the 
issues  of  your  magazine,  American 
Cinematographer. 

I  therefore  inclose  a  further  two 
years'  subscription  (7  dollars)  for 
the  magazine. 

Yours  faithfully 
BRUNO  ALDO  TOMASELLI. 


patterns  of  pine  trees  and  mountain 
cliffs  in  the  foreground,  and  then  we 
start  climbing  through  the  beautiful 
granite  gorges  of  the  Merced  River. 

Here  the  burros  play  an  important 
part  in  the  continuity.  They  are  "walked" 
over  these  thrilling  trails  and  oftentimes 
the  boys  find  it  necessary  to  "push  and 
pull."  The  feature  comedy  sketch  at  this 
point  is  our  rather  interesting  "sit  down 
strike." 

The  burro  named  Streamline  had  not 
previously  been  "broken  in"  on  the 
trails,  and  he  was  very  shy  about  cross- 
ing streams.  The  "sit  down  strike" 
scene  shows  twelve  of  the  boys  pulling 
the  burro,  and  about  three  of  them  push- 
ing. Audiences  always  enjoy  this  very 
amusing  incident. 

At  Merced  Lake 

Our  next  camp  was  Merced  Lake, 
where  there  was  a  magnificent  display 
of  mountain  wild  flowers.  These  delicate 
gems  of  nature  are  best  photographed 
in  medium  shots  and  close-up  portraits. 

Here  again  it  is  necessary  to  deter- 
mine the  proper  exposure  for  the  flower. 
The  meter  is,  of  course,  pointed  very 
close  to  the  object  so  that  the  surround- 
ing light  does  not  interfere. 

Soon  our  party  gains  rapidly  in  eleva- 
tion. As  we  approach  a  mountain  pass 
we  see  from  the  trail  spectacular  pano- 
ramas of  ranges  of  snow-capped  peaks. 
Here  is  another  opportunity  to  pan.  In 
one  shot  I  follow  a  boy  and  a  burro 
while  they  pass  in  the  foreground. 

The  background  shows  the  extent  of 
the  mountain  range.  In  another  picture 
I  panned  very  slowly,  and  paused  on 
several  points  of  special  interest.  A  few 
suggestions  for  photographing  an  ex- 
panse like  this  are  the  following: 

Usually  pan  from  left  to  right  and 
never  swing  the  camera  back  over  the 
same  scene.  Rehearse  the  pans  so  that 
you  do  not  lose  your  composition  during 
the  course  of  the  pan. 

This  rehearsal  also  will  give  you  an 
opportunity  to  select  interesting  spots 
for  pauses.  Make  sure  that  panning 
operations  are  slow  and  smooth.  The 
tripod  should  be  in  proper  adjustment. 

If  it  is  difficult  to  determine  exposures 
for  distant  objects  take  a  reading  of  a 
nearby  similar  object,  if  the  light  con- 
ditions are  the  same.  Avoid  too  much 
sky  area. 

If  for  some  reason  you  feature  the 
sky  and  clouds  calculate  your  exposure 
carefully.  Be  sure  to  use  a  haze  filter 
for  regular  Kodachrome  or  a  coral  filter 
for  Type  A  Kodachrome.  These  filters 
can  be  left  on  the  lens  mounts  at  all 
times. 

Camera  Equipment 

While  reviewing  in  my  mind  the  climb- 
ing of  some  of  these  steep  trails  I  am 
reminded  of  the  importance  of  selecting 
"comfortable"  equipment.  Although  I 
have  climbed  many  mountains  with  dif- 
ferent types  of  cameras  in  my  knapsack, 
I  have  settled  down  to  a  trio  that  com- 
bine efficiency  with  light  weight. 

I  use  the  Contax  for  color  slides,  the 
Superikomat  B  for  black-and-white  stills, 
(Contmued  on  Page  308) 


296      American  CiNKMAT()(;KArHKK    •    July,  1988 


it 


llliistratiouf!  (left  to  riglit)  1,  2   and  ■'> 


Teorey  Tells  How  He  Titled  His 
''Golf  IVidow''  with  Bookleaves 


SOME  months  ago  I  completed  a 
story  in  scenario  form  in  8mm. 
film"  entitled  "The  Golf  Widow." 
As  this  was  my  "super-colossal"  effort 
I  knew  I  wouldn't  be  satisfied  with  ordi- 
nary titles,  so  I  cast  about  for  a  way  to 
handle  the  situation  that  would  appear 
professional  yet  be  amateur  in  prepa- 
ration. 

Cut-out  letters,  typewriter  titler  and 
pin  letters  had  been  given  due  consider- 
ation, but  each  was  discarded  as  lacking 
the  finesse  considered  necessary  for  my 
epic.  I  finally  concluded  that  hand- 
lettered  titles  would  reward  me  with  the 
desired  effect,  and  a  scrapbook,  size  10 
by  12  inches,  covered  with  green  burlap, 
was  secured  for  the  purpose. 

The  filler  pages,  which  I  intended  to 
letter,  were  fairly  heavy,  quite  smooth 
in  texture  and  of  a  cream  color  that 
would  photograph  softly  and  without 
much  possibility  of  a  hot  spot  or  flare 
from  the  light  source. 

Having  procured  my  title  medium,  I 
penciled  the  wording  of  my  titles  on  a 
piece  of  scratch  paper.  When  it  had 
been  composed  to  my  satisfaction,  my 
next  problem  was  the  style  of  letters  to 
employ.  I  had  noted  at  that  time  a 
popular  magazine  with  its  stories  titled 
in  a  very  pleasing  script,  and  promptly 
adopted  the  style  for  my  purpose. 

Several  sheets  were  separated  from 
the  scrap  book  and  the  task  of  lettering 
was  begun.  The  size  of  letters  having 
been  determined,  guide  lines  were  lightly 
ruled  and  title  layouts  sketched  with  a 
lead  pencil.  Main  titles  were  of  lower 
case  letters  approximately  one  and  one- 


By  ROBERT  W.  TEOREY 

I'hotofjraplis  by  Milton  R.  Armationg 


half  inches  high  with  capital  letters 
about  two  inches  in  height.  Credit  titles 
were  of  letters  slightly  more  than  half 
the  height  of  the  former. 

Inserts  Ornament 

When  the  letters  had  been  sketched 
I  filled  them  in  with  India  ink,  using 
a  blunt  pen  and  fine  brush  for  the  pur- 
pose. After  the  titles  had  been  drawn 
I  felt  they  lacked  something  to  be  com- 
plete and  decided  a  small  drawing  in  the 
lower  right  corner  of  each  would  im- 
prove them. 

The  drawings  were  made  in  silhouette 
with  a  circular  border  about  them  and 
were  made  on  a  separate  sheet  of  paper, 
which  prevented  spoiling  a  title  in  case 
of  error.    They  were  then  cut  out  and 


Illustration  Jf 


pasted  in  position  on  the  title  sheets. 
Each  drawing  was  made  to  harmonize 
with  a  title — for  instance,  the  title  giv- 
ing photographic  credit  was  decorated 
with  a  moviemaker  operating  his  camera. 

The  wording  on  the  cover  of  the  scrap- 
book  describing  the  production,  etc.,  (Il- 
lustration 1)  was  drawn  in  white  ink  on 
a  sheet  extracted  from  a  snapshot  al- 
bum. These  were  trimmed  to  size  and 
pasted  into  place. 

My  titles  being  in  this  form  permitted 
me  to  film  the  book  opening  and  the 
leaves  turning  into  place  apparently 
without  visible  aid.  To  secure  this  il- 
lusion, I  attached  a  length  of  black 
thread  to  the  upper  comer  of  the  cover, 
and  a  separate  length  in  the  same  posi- 
tion to  each  leaf  to  be  turned. 

Shooting   the  Titles 

A  button  was  attached  to  each  free 
end  for  easy  handling.  The  book  was 
then  placed  in  the  center  of  a  piece  of 
damask  silk  which  had  been  crumpled  on 
the  floor.  Each  piece  of  thread  with 
its  button  was  laid  out  in  the  order 
the  cover  and  leaves  were  to  be  turned. 

The  camera  was  set  up  on  its  tripod 
directly  in  front  of  the  book  with  the 
lens  about  four  feet  from  its  center. 
Sighting  through  the  finder,  I  arranged 
my  composition  and  checked  for  paral- 
lax. The  light  source  was  a  No.  2 
photoflood  in  reflector  set  up  at  the  side 
and  slightly  to  the  rear  of  the  camera. 

Ready  to  film  the  titles,  I  started  the 
camera,  faded  in  and  slowly  read  the 
wording  on  the  cover  through  twice,  at 
which  point  Mrs.  Teorey,  with  the  aid 
of  the  first  thread,  slowly  opened  the 


July,  1938    •    American  Cinematographer  297 


O 


book  exposing  the  main  title  (Illustra- 
tion 2). 

This  was  read  one  and  one-half  times, 
and  then  by  means  of  the  second  thread 
was  turned  slowly  to  the  first  credit 
title  (Illustration  3).  This  and  the  one 
following  (Illustration  4)  were  timed  in 
the  same  manner  as  the  main  title.  When 
the  second  credit  title  had  been  turned 
it  brought  to  view  the  title  worded 
"The  Cast." 

Introducing  Cast 

Short  shots  of  the  persons  taking  part 
in  the  story  followed  this  title.    On  each 


lUustratioiis  (left  to  right)  5,  fi  and  7 

shot  I  superimposed  by  double  exposure 
a  title  showing  the  part  taken  by  the 
actor.  White  pin  letters  on  a  dull  black 
background  were  used  for  this  purpose. 
This  sequence  ended  in  a  fadeout,  where- 
upon I  faded  into  the  title  commencing 
"The  characters  in  this  story  are  fic- 
tional," etc. 

This  title,  with  the  addition  of  the 
words  in  parentheses  "We  hope"  was 
intended  to  add  a  bit  of  professionalism 
tinged  with  a  little  humor  (Illustration 
6).  The  fadeout  at  this  point  was  fol- 
lowed by  the  first  scene  of  the  comedy. 


The  end  title  (Illustration  7)  was  not 
turned  but  filmed  stationary,  opening 
and  ending  with  fades. 

In  conclusion,  I  freely  admit  that  more 
time  and  patience  were  required  to  pre- 
pare the  titles  illustrated.  However,  the 
results  much  more  than  compensated 
me  for  this.  Since  making  them  I  pur- 
chased an  inexpensive  text  book  of  mod- 
ern lettering  and  poster  design  and  pen 
points  of  various  widths  especially  de- 
vised for  hand  lettering.  With  these 
aids  I  know  that  lettering  my  next 
group  of  titles  will  be  greatly  simplified. 


''Sound  Erigmeering''  Is  Splendid 
Example  of  Up-to-Date  Text  Book 


FROM  the  press  of  D.  Van  Nostrand 
Company,  Inc.,  250  Fourth  avenue. 
New  York,  has  come  "Motion  Pic- 
ture Sound  Engineering."  The  book  con- 
tains .570  pages  and  is  finely  printed. 
The  intricate  typography  is  a  Hollywood 
product  of  Magoffin  &  Doye  of  Cahuenga 
avenue.  Behind  the  publication  of  this 
splendid  example  of  text  book  is  the  Re- 
search Council  of  the  Academy  of  Motion 
Picture  Arts  and  Sciences. 

Within  the  book  are  the  contents  di 
the  lectures  presented  to  the  courses  in 
sound  engineering  given  by  the  council. 
Chairman  William  Koenig  in  his  preface 
sets  forth  that  in  the  seven  years  that 
have  elapsed  since  the  Academy  pub- 
lished "Recording  Sound  for  Motion  Pic- 
tures" there  have  been  many  advances 
in  equipment  and  technique  for  record- 
'■ing  sound. 

Since  its  organization  in  1934  the  coun- 
cil's activities  have  grown  until  at  tho 
present  time  thirty-six  technical  com- 
mittees are  operating.  The  structure  is 
erected  around  the  chairman  and  a  tech- 
nical representative  of  each  of  the  eight 
studios  participating.  The  present  pub- 
lication has  been  two  years  in  prepara- 
tion, and  the  time  and  effort  that  have 
been  expended  in  the  printing  of  it  on 


the  part  of  contributors  have  baen  with- 
out compensation. 

A.  P.  Hill  of  Electrical  Research  Prod- 
ucts, Inc.,  prepared  the  lectures  given  in 
the  two  courses  in  the  fundamentals  of 
sound  recording,  one  in  the  fall  of  193(5 
and  the  other  in  the  spring  of  1937. 
P'red  Albin  of  United  Artists,  L.  E.  Clark 
of  RCA,  and  John  Hilliard  and  Harry 
Kimball  of  MGM  prepared  the  lectures 
in  the  advanced  course  in  sound  record- 
ing in  the  spring  of  1937. 


Rolleiflex  Salon  in  Los  Angeles 

Under  the  auspices  of  Burleigh 
Brooks,  Inc.,  the  third  Rolleiflex  Rollei- 
cord  Salon  will  be  held  at  the  Hollywood 
Roosevelt  Hctel  June  27  to  July  2  and 
the  Los  Angeles  Camera  Club,  2504 
West  Seventh  Street,  July  5  to  14.  The 
exhibition  hours  ai'e  from  11  to  9  o'clock, 
except  Saturday  and  Sunday,  when  they 
will  be  11  to  5.  There  is  no  charge  for 
admission. 

There  are  many  prints  by  some  of  the 
nation's  foremost  amateur  and  profes- 
sional photographers.  The  judges  were 
Adolf  Fassbender,  F.R.P.S. ;  Margaret 
Bourke-White  and  Herbert  C.  McKay, 
F.R.P.S. 


In  the  two  parts  of  the  book  are  thirty- 
nine  chapters.  The  titles  of  the  twenty- 
four  in  Part  I  are:  Basis  of  Motion  Pic- 
ture Sound,  The  Nature  of  Sound,  Types 
of  F'ilm  Recording,  Noise  Reduction,  Re- 
recording  and  Preparation  for  Release, 
Microphones,  Headphones  and  Loud 
Speakers,  Film  Drive,  Film  Processing, 
Reproducing  Systems,  Sound  Circuits, 
Measurements  in  Sound  Circuits,  Phase 
Distortion,  Transformers  for  Sound  Cir- 
cuits, General  Network  Theory,  Attenua- 
tion Equalizers,  Equalizer  Design,  Wave 
Filter  Theory,  Low-Pass  and  High-Pass 
Filters,  Dividing  Networks  for  Loud 
Speaker  Systems,  Vacuum  Tubes,  Ampli- 
fier Circuits,  Rectifiers,  Volume  Indi- 
cators. 

In  Part  II  are:  Elementary  Considera- 
tions, Static  Electricity,  Direct  Currents, 
Electrical  Power  and  Energy,  Magnet- 
ism, Electro  Magnetism  and  the  Magnetic 
Circuit,  Electro-Magnetic  Induction,  The 
Decibel,  Resistance  Attenuation  Net- 
works, Generators  and  Motors,  Alternat- 
ing Currents,  Vector  Notation,  Resonant 
Circuits,  Vacuum  Tubes,  Triode  Ampli- 
fiers. 

"Motion  Picture  Sound  Engineering"  is 
a  credit  to  the  irien  who  have  given  of 
their  best  to  create  it.  Indirectly,  and 
directly,  too,  it  stands  as  a  monument 
to  an  industry  the  executives  of  which 
had  the  foresight  to  work  together  in 
the  common  interest  —  and  get  some- 
where— rather  than  continue  in  old  paths 
— and  in  which  progress  was  made  slowly 
and  painfully. 

The  net  price  of  the  book  is  $6. 


298     American  Cinematographer    •    July,  1938 


Sherlock  of  Sydney  Tells  How 
He  Edits  and  Titles  His  Pictures 

From  May  Issue  of  Movie  News, 
Official  Organ  of  the  Australian  Amateur  Cine  Society  of  Sydney 


AT  THE  first  April  meeting  Vice 
President  James  A.  Sherlock  gave 
a  short  address  on  the  subject  of 
"Editing  and  Titling.'"  At  the  outset 
he  stated  that  his  talk  was  directed  more 
particularly  to  the  very  amateur  ama- 
teur. From  the  sophisticated  worker  he 
craved  indulgence. 

Mr.  Sherlock  proceeded  to  demon- 
strate the  method  of  using  various  edit- 
ing and  titling  outfits,  from  the  cheap- 
est to  the  dearest,  secured  from  the  dif- 
ferent trade  houses,  and  these  were  made 
available  for  inspection  after  the  meet- 
ing.  The  speaker  proceeded: 

The  art  of  editing  and  making  good 
titles  is  as  varied  as  picture  making  it- 
self and  gives  individuality  to  films. 
When  a  film  is  taken  it  is  not  sufficient 
to  leave  it  as  received  back  from  the 
processing  station  with  all  the  second 
rate  photography  in  it. 

You  will  find  scenes  that  are  too  long, 
scenes  that  are  too  jumpy,  scenes  that 
are  wrongly  exposed,  and  work  will  fall 
on  the  serious  cine  minded  person  to 
put  these  various  shots  into  a  better 
form  of  continuity  so  that  the  pictures 
will  tell  a  story. 

Indispensables  for  editing  and  titling 
are:  film  cement,  film  splicer,  a  rewinder, 
a  few  400  foot  reels,  some  kind  of  film 
viewer,  a  box  divided  into  small  squares, 
and  a  pair  of  scissors. 

Film  Viewer  Necessary 

The  construction  of  an  editing  board 
is  quite  simple.  Two  gear-driven  emery 
wheels  can  be  bought  for  about  3/6  each 
and  mounted  on  a  board.  Some  kind  of 
film  viewer  is  necessary,  and  can  be  pur- 
chased from  most  of  our  advertisers. 

A  cheaper  way  out  is  to  buy  a  magni- 
fying glass  so  that  each  frame  can  be 
enlarged  and  the  correct  one  chosen  for 
the  scissors.  Separate  equipment  will  be 
necessary  for  titling.  My  titler  has  been 
made  for  one  particular  camera  and  a 
sliding  base  makes  it  possible  to  photo- 
graph titles  and  backgrounds  different 
sizes. 

It  is  essential  that  titles  should  fit  into 
the  theme  or  atmosphere  of  a  picture. 
In  my  film  "The  Brook"  titles  were 
made,  printed  and  bound  together  in 
book  form.  This  form  of  title  was  chosen 
to  give  the  effect  of  a  poem  being  read. 

The  titles  in  "Surfdom's  Initial 
Overseas  Tour"  are  quite  different.  They 
were  first  filmed  on  reversal  film  in  ths 
titler,  then  the  film  taken  out  of  the 
camera,  rewound,  and  exposed  again 
with  the  camera  pointing  straight  down 
from  a  wharf  on  to  rippling  water.  This 
I  think  helped  to  hold  the  atmospheric 
effect  of  this  picture. 


In  fil  ming  the  titles  of  "To  the  Ships 
of  Sydney"  I  chose  old  P'nglish  letters, 
as  the  continuity  of  this  story  was  in 
the  form  of  a  will.  The  background  was 
a  neutral  blue,  which  was  the  prevail- 
ing color  throughout  the  film,  so  that 
the  titles  were  in  harmony  with  the  rest 
of  the  picture. 

Rules  of  Titling 

Among  the  "Golden  Rules''  for  titling 
are  the  following: 

Do  not  use  more  than  twenty  words  in 
any  title. 

Do  not  have  your  subject  titles  more 
elaborate  than  the  main  ones. 

Do  not  state  in  a  title  what  is  evi- 
dent from  the  scene  to  follow. 

Do  not  splice  two  titles  together. 

Refer  always  to  what  is  in  scenes  to 
come,  never  to  what  has  been  viewed. 

Use  simple  language. 

Titles  should  be  complete  sentences, 
containing  subject,  verb  and  object. 

Humor  in  titles  should  not  include 
fashionable  catch  phra.ses  because  at  a 
later  date  the  joke  becomes  stale. 

Backgrounds  should  not  overshadow 
title  words,  which  should  be  distinct. 


THE  Projection  Practice  Commit- 
tee of  the  Society  of  Motion  Pic- 
ture Engineers  has  considered  in 
great  detail,  and  over  a  period  of  years, 
methods  of  increasing  the  enjoyment 
of  theater  patrons  in  their  viewing  of 
the  screen  picture. 

The  committee  regards  clear  and  un- 
obstructed viewing  of  the  screen  as  an 
essential  and  major  factor  in  audience 
satisfaction.  It  disapproves  of  any 
form  of  auditorium  design  or  seating 
arrangement  which  prevents  the  indi- 
vidual patrons  from  seeing  all  parts  of 
the  screen  at  all  times,  and  regardless 
of  the  positions  of  other  patrons. 

There  are  several  degrees  of  obstruc- 
tion of  viewing  the  screen.  Arranged  in 
order  of  diminishing  desirability,  these 
are  in  grades: 

1.  Clear  vision  regardless  of  posi- 
tions of  patrons  one  or  more  rows  ahead. 

2.  Clear  vision  regardless  of  posi- 
tions of  patrons  two  or  more  rows 
ahead. 

3.  Partially  obstructed  vision  under 
almost  any  conditions. 


Titles  should  always  be  properly  cen- 
tered and  balanced. 

Daylight  Preferred 

When  shooting  titles,  I  find  it  better 
to  use  daylight  rather  than  artificial 
light,  and  shoot  titles  at  nothing  under 
.5.6.  Take  your  titles  into  the  backyard, 
mount  your  camera  facing  north,  your 
titler  then  faces  south,  and  being  per- 
pendicular will  not  be  in  the  direct  sun- 
light and  white  letters  can  be  shot  on  a 
clear  day  at  5.6.  This  will  give  better 
depth  and  clearer  details.  So  much  for 
titles. 

In  editing  it  is  a  good  plan  to  make 
a  note  of  each  shot  in  the  film,  then  get 
the  scissors  and  cut  each  scene  from  the 
reel.  Place  these  in  a  partitioned  box, 
and  if  there  be  more  than  one  reel  to 
edit  continue  this  practice  until  you  have 
accumulated  sufficient  to  commence  the 
work  of  rejoining  these  strips. 

If  you  have  done  your  w^rk  thor- 
oughly, you  will  notice  that  while  some 
scenes  are  too  long  others  are  over- 
exposed or  underexposed.  The.se  can  be 
deleted  at  will. 

Nf>w  do  not  touch  your  film  again  un- 
til you  have  decided  on  the  order  that 
you  think  best  for  making  a  story  from 
your  various  shots.  For  instance,  we 
have  taken  shots  1,  2,  3,  4,  5,  but  these 
may  make  a  better  picture  if  put  5  3  4 
2  1. 

Give  this  plenty  of  thought  before 
you  commence  rejoining  your  film  and 
you  will  find  that  by  varying  the  con- 
tinuity you  can  get  quite  a  different 
meaning  from  your  film.  (Applause). 


To  reduce  obstruction  of  viewing 
there  are  several  methods  available  in- 
cluding the  follo^^^ng: 

a.  Staggering  seats  in  successive 
rows  (which  may  reduce  the  number  of 
seats  or  cause  "ragged"  aisles). 

b.  Raising  the  level  of  each  row  of 
seats  relative  to  those  before  them 
(which  may  lead  to  an  impractical 
amount  of  rise  in  some  theaters  from 
front  to  back). 

Fall  and  Rise 

c.  Adopting  a  suitable  combination 
of  fall  and  rise  of  successive  rows  of 
seats  from  front  to  back  (which  method 
requires  further  study  in  practice  on  a 
wider  scale  under  various  conditions). 

One  or  more  of  these  available  meth- 
ods should  be  seriously  considered  by 
theater  architects.  In  no  case  does  the 
Projection  Practice  Committee  approve 
any  seating  arrangement  falling  appre- 
ciably below  Grade  1;  that  is,  the  com- 
mittee disapproves  any  noticeable  and 
unpleasant  obstruction  of  the  screen 
view  of  one  patron  by  other  normally 
seated  patrons  no  matter  where  located. 


Engineers'  Projection  Committee 
Battling  for  Clear  Theatre  View 


July,  1938    •    American  Cinematographer  299 


riRST  among  this  16  mm.  (  ine-Kodak's 
many  features  is  its  JJ-second  loading — with 
films  that  come  pre-tlireaded  in  light-tiglit 
metal  magazines  which  slip  into  the  camera. 

FOUR  FILMS  IN  MAGAZINES— Cine- 
Kodak  "Pan"  for  general  outdoor  work  in 
black-and-white.  .  ."SS  Pan"  for  black-and- 
white  movies  outdoors  in  poor  light,  and  in- 
doors with  artificial  light.  .  .  Kodachronie.  the 
full-color  film  that  made  color  movies  .so  popu- 
lar; "Regular,"  for  outdoor  u.se,  and  Tyi)e  A 
for  indoor  Photoflood  light. 
LENS  VERSATILITY— the  ultra-fast 
Kodak  Ana.stigmat/.l.O  lens  is  in.stantly  inter- 
changeable with  the  six  accessory  telephotos 
and  one  wide-angle  lens  available. 
POCKET  SIZE— Its  .sturdy  ca.se  of  die-ca.st 
aluminum,  finished  in  pin-grain  leather  and 
chromium  trim,  measures  only  (ij^  by  4  by 
inches.  Carrying  handle,  incorporating  finder 
system  serving  all  eight  len.ses.  folds  fiat  when 
not  in  use. 


^Oll  Nlifi  (llr  Kficllsill^  KillflfT  illlo 
the  film  cluioiIxT  of  t  h<-  ^1a$:azin4> 
(^in4'-K<k<lak  just  as  \oii  \,fMiI«l  a 
film  ma;;azinf. 


THREE  SPEEDS— 1(),  and  6-1  frames  per 
second.  Smooth-running  motor  su])plies  })ower 
enough  for  extended  scenes — and  automati- 
cally cuts  off  when  rewinding  is  needed. 
FOCUSING  FINDER— shown  al)o\  e.  right 
— slips  into  the  camera  anti  shows  exact  field 
covered  by  any  lens,  and  a  magnified  .section 
of  field  for  critical  focusing.  $"20. 
COMPARTMENT  CARRYING  CASE— 
shown  above — holds  camera,  extra  magazines, 
lenses  and  filters,  $'-27..)(). 

AND  FOR  PROJECTION— Kodascope 
Model  G — Eastman's  new  projector  wtth 
'-2-inch  /. l.()  lens  and  .)()()-watt  lamp  for  show- 
ing 1()  mm.  movies  at  their  be.st.  $l'2.'5.4.). 

Cine-Kodaksy  Kodascopes,  and  Cine-Kodak 
Film  are  all  Eastman-made,  dcsiijned  to  irork 
together  and  haeked  bij  dependable,  irorld-iride 
Eastman  serrice. 


Magazine  Cine-Kodak,  with  Kodak  Anastigmat  f.1.9  lens,  $125 


EASTMAN    KODAK    COMPANY,    ROCHESTER,    N.  Y. 


.SOO     American  Cinkmat()(;rai'hkk    •    July,  1938 


Film  Your  Home  Guests  in  Story 
and  Thereby  Avoid  Sheepish  Grins 

When  Your  Screened  Subjects  Are  Natural 
in  Appearance  Your  Movie  Has  Permanent 
Value — Just  a  One-Time  Show  When  Not 


NOT  so  long  ago  when  Tom,  Dick 
or  Mary  called  at  my  house,  the 
procedure  was  to  bring  forth  the 
trusty  cine-box  and  while  they  posed  in 
front  of  its  crystal  eye  a  cinematic  re- 
cording was  taken.  When  the  results 
were  projected  it  is  true  that  Tom,  Dick 
and  Mary  enjoyed  seeing  their  counte- 
nances flashing  from  the  screen. 

Perhaps  they  liked  the  way  Tom 
grinned  sheepishly  at  the  camera  as  he 
nervously  shifted  his  feet.  Maybe  the 
manner  in  which  Dick  fumbled  with  his 
thumbs  as  he  anxiously  waited  for  the 
camera  to  stop  whirring  appeared  amus- 
ing, or  that  Mary  had  a  trace  of  shy 
charm  that  was  appealing  as  she  twisted 
her  purse  and  alternately  shifted  her 
gaze  from  the  camera  lens  to  her  feet. 

At  any  rate,  I  had  movies  of  my 
friends,  and  eventually  I  acquired  a  lot 
of  footage  that  was  placed  on  a  single 
reel. 

There  came  a  time  when  I  awakened 
to  the  fact  that  my  reel  of  friends  lacked 
in  popularity.  In  the  course  of  an  even- 
ing's entertainment  when  I  desired  to 
project  it  I  would  find  that  my  inclina- 
tion to  do  so  was  usually  vetoed  by  my 
family  inferring  the  reel  wouldn't  be  in- 
teresting to  the  audience. 

Now  I  knew  that  Tom,  Dick  and  Mary 
liked  to  see  themselves  in  animation  on 
the  screen.  After  mulling  the  matter 
over,  however,  it  occurred  to  me  they 
weren't  particularly  interested  in  seeing 
similar  shots  of  strangers,  as  the  scenes 
were  purely  personal,  lacking  in  plot  or 
action  to  offer  screen  amusement. 

Detracted  from  Interest 

In  addition,  the  subjects  were  usually 
self-conscious  or  at  a  loss  for  something 
to  do,  and  that  also  detracted  from  the 
general  interest  of  the  pictures. 

Realization  dawned  on  me  that  my  reel 
of  friends  was  just  an  accumulation  of 
snapshots  much  better  taken  with  a  still 
camera. 

Further  deliberation  definitely  decided 
me  that  a  small  plot  would  be  the  main 
requisite  when  filming  my  friends  or  rela- 
tives in  the  future.  This  requirement 
would  enable  my  subjects  to  perform 
specific  tasks  that  would  relieve  them  of 
camera  consciousness  and  would  give  me 
a  series  of  shots  that  would  offer  di- 
version as  the  scenes  were  revealed  on 
the  screen. 

Filming  my  friend.-;  in  .story  was  the 
rule  thereafter. 


By  ROBERT  W.  TEOREY 

One  evening  shortly  after  my  resolu- 
tion a  young  couple  dropped  in  for  a 
visit.  A  year  or  so  previously  I  had 
taken  a  couple  of  shots  of  them  but  now 
I  wanted  to  picture  them  in  a  short  skit. 
After  a  few  moments  of  thought  I  de- 
cided on  a  little  plot  that  might  aptly  be 
titled  "Boy  Dates  Girl." 

The  story  opens  with  a  close-up  of  the 
boy  playing  solitaire.  Becoming  bored, 
he  flings  the  cards  away  and  sinks  his 
chin  in  his  hand  apparently  fed  up  on 
the  game.  Suddenly  his  face  brightens 
into  a  smile.  Reaching  for  the  telephone 
he  begins  to  dial  a  number. 


Robert  W.  Teorey 
Late  first  sergeant  United  States  Ma- 
rines, now  transferred  to  reserve. 

The  next  scene  presents  a  long  shot  of 
the  girl  lying  on  a  davenport  busily 
munching  chocolates  the  while  she  reads 
a  book.  As  the  telephone  rings  she  lays 
the  book  down  and  reaches  for  the  instru- 
ment. A  cut  to  the  boy  shows  him  eager- 
ly talking  into  the  telephone. 

Double  Solitaire 

Following  that  is  a  close-up  of  the  girl 
as  she  smiles  into  the  phone  and  nods 
her  head  as  in  agreement.  A  fade-out 


of  her  hand  replacing  the  receiver  ends 
this  sequence. 

A  fade-in  next  brings  to  view  the  boy 
and  girl  seated  at  a  table.  They  are 
playing  DOUBLE  SOLITAIRE.  A  close- 
up  of  the  table  top  as  the  cards  are 
briskly  played  fades  out  into  the  end 
of  the  skit. 

Usually  when  a  boy  dates  a  girl  it  isn't 
for  the  purpose  of  playing  double  soli- 
taire. However,  the  idea  was  humorous 
and  permitted  a  surprise  ending.  Not 
much  footage  was  required,  yet  I  had 
continuity  and  story  intere.st  and  my 
friends  were  so  absorbed  in  performing 
their  parts  that  no  trace  of  self-con- 
sciousness was  evident  in  the  finished 
pictures. 

On  another  occasion  a  boy  and  girl  in 
their  late  'teens  called  on  the  young  man 
of  the  family,  and  having  no  movies  of 
the  visitors  it  didn't  take  me  long  to  de- 
cide on  a  little  story  wherein  the  boys 
would  vie  for  the  girl's  favor. 

The  opening  scene  is  a  long  shot  of  the 
girl  standing  on  the  sidewalk  apparently 
waiting  for  a  street  car.  Two  young 
men  are  seen  approaching  in  the  back- 
ground, and  as  they  near  the  girl  one  of 
them  halts  and,  grasping  the  arm  of  the 
other,  motions  toward  the  young  woman. 

A  close-up  shows  them  in  conversa- 
tion. One  extracts  a  coin  from  his  pocket 
and  flips  it  in  the  air.  As  he  catches  it 
they  examine  the  result  of  their  gamble. 
The  loser  draws  back  while  the  winner 
of  the  toss  nonchalantly  walks  toward 
the  girl. 

Boy  Is  RebuflFed 

The  young  man  is  next  seen  to  sidle  up 
to  the  girl  and  speak  to  her  while  the 
other  boy  watches  the  proceedings  in  the 
background.  The  girl  glances  disdain- 
fully up  and  down  his  length  and  then 
totally  ignores  him. 

Rebuffed,  he  shrugs  his  shoulders  and 
continues  down  the  street  a  short  dis- 
tance, where  he  stops  to  observe  the  luck 
of  his  partner.  The  other  chap  adjusts 
his  tie  and  saunters  to  the  side  of  the 
girl. 

As  he  speaks  to  her,  she  measures  his 
length  also.  Finding  that  she  is  pleased 
with  him,  she  smiles,  and,  as  the  boy 
proffers  his  arm,  takes  it  and  they  move 
down  the  street.  The  next  shot  shows 
them  passing  the  unsuccessful  youth, 
who  looks  quite  chagrined  while  the  win- 
ner struts  and  grins  triumphantly  at  him. 

A  cut  to  a  close-up  of  the  unlucky  one 


July,  1938    •    American  Cinematographer  301 


shows  him  drawing  the  coin  from  his 
pocket.  He  looks  at  it  in  disgust  and 
casts  it  away  as  the  scene  fades  out. 

One  other  bit  of  continuity  is  of  my- 
self in  the  role  of  an  erring  husband 
telephoning  the  trusting  wife  that  I 
would  be  late  in  getting  home  from  the 
office  as  the  boss  required  me  to  work 
with  him  that  evening.  I  applesauce  her 
(in  titles)  with  sugary  talk  and  telephone 
kisses  as  I  pave  the  way  for  an  evening 
away  from  home. 

All  the  scenes  are  close-ups  of  myself 
phoning  (with  facial  expressions),  and 
my  speech  is  presented  with  titles  pre- 
pared on  a  typewriter  titler.  The  last 
title  of  the  skit  acknowledges  a  state- 
ment from  my  wife  that  the  boss  has 
just  dropped  in  at  my  home,  while  my 
facial  expression  in  the  last  scene  de- 
notes my  discomfiture  and  chagrin  at  be- 
ing found  out. 

Idea  from  Rotogravure 

I  procured  this  idea  from  the  roto- 
gravure section  of  a  local  newspaper 
showing  several  photos  of  a  character 
actor  enacting  the  role  in  stills.  Since 
then  I  have  always  been  on  the  lookout 
for  similar  items  to  use  as  opportunity 
afforded.  However,  anything  at  all  can 
be  used  in  working  up  continuity  of 
those  you  wish  to  film. 

Some  personal  characteristic,  hobby  or 


DURING  the  past  month  Los  An- 
geles has  been  visited  by  two 
men  high  in  the  field  of  optical 
instrument  manufacture  —  Harvey  N. 
Ott  and  Harold  D.  Rhynedance  of  the 


H.  N.  Ott,  prenident,  Spencer  Lens 


sport  will  offer  you  a  variety  to  select 
from.  Perhaps  you  wish  to  record  a  few 
shots  of  a  friend  whom  you  know  to  be 
an  avid  golfer.  Film  him  doing  the  thing 
he  likes  best. 

You  might  picture  him  taking  elab- 
orate pains  to  tee  a  ball.  As  he  prepares 
to  drive,  the  ball  rolls  off  the  tee.  (This 
can  be  managed  with  a  piece  of  black 
thread  manipulated  out  of  camera  range.) 

Repeat  this  procedure  two  or  three 
times.  Then  show  him  throwing  his  club 
down  and  leaving  the  scene.  The  next 
shot  shows  him  returning  with  a  shovel 
in  his  hand,  and  as  he  sinks  the  point 
into  the  earth  cut  to  a  shot  showing  him 
taking  his  stance  as  he  prepares  to  drive 
again. 

This  time  the  view  shows  that  the  ball 
is  perched  on  a  mound  about  6  inches 
high.  He  drives  off  in  a  shower  of  dust 
which  ends  a  short  sketch  of  your  golf- 
ing friend.  Just  simple  continuity,  yet 
you  have  a  story  of  the  tribulation  of  a 
golfer. 

None  of  the  skits  outlined  here  require 
much  film,  but  still  they  offer  screen  en- 
tertainment and  occupation  for  the  prin- 
cipals during  filming  which  permits  a 
more  natural  appearance  on  their  parts 
that  is  not  only  pleasing  to  them  but  to 
all  who  see. 

In  concluding,  I  repeat,  FILM  YOUR 
FRIENDS  IN  STORY. 


Spencer  Lens  Company  of  Buffalo,  re- 
spectively president  since  1919  and  vice 
president  and  general  sales  manager 
since  1936. 

Mr.  Ott  was  away  from  his  office 
for  over  three  months,  during  that  peri- 
od doing  much  traveling  in  the  North- 
west and  returning  by  way  of  Texas. 
His  chief  objective  was  maintaining 
contact  with  the  college  laboratories  of- 
ficials with  whom  he  has  been  in  close 
touch  for  many  years. 

The  president  of  Spencer  Lens  has 
been  with  the  company  since  1903,  be- 
coming treasurer  in  1914.  When  he  was 
nine  years  old  he  obtained  a  small  mag- 
nifier and  began  the  study  of  insects 
and  plants.  A  half  dozen  years  later 
he  earned  the  money  to  buy  a  com- 
pound microscope  from  college  profes- 
sors. 

At  Albion  College  his  major  interests 
were  the  biological  sciences,  expanded 
by  a  post-graduate  course  at  Michi- 
gan. There  was  a  period  of  teaching, 
followed  by  work  with  an  optical  com- 
pany. With  Spencer  his  field  quickly 
was  enlarged  from  selling  to  include  de- 
signing, and  his  work  has  embraced  the 
two  ever  since. 

Mr.  Rhynedance  also  is  a  specialist 
on  the  microscope  and  optics  generally. 
While  at  Yale  he  worked  in  the  zoo- 


logical laboratory  and  taught  histolog- 
ical technique  and  also  became  an 
authority  in  the  use  of  the  microtome. 
He  was  active  in  working  out  cures 
and  treatment  for  gassed  soldiers. 

The  vice  president  joined  Spencer 
Lens  in  1922,  and  barring  a  brief  period 
as  general  sales  manager  for  E.  Leitz 
has  been  with  the  company  ever  since. 
He  has  been  on  an  extended  trip  cover- 
ing the  company's  branch  offices  in 
the  West  and  a  visit  to  the  convention 
of  the  American  Medical  Association  in 
San  Francisco. 


Good  Polish  Color  Subject 
in  Hollywood  for  Duping 

AT  THE  request  of  the  producers,  the 
Polskie  Towarzystwo  Foto- 
graficzne,  Sekcja  Filmowa,  the 
Polish  film  in  Kodachrome  "A  Province 
in  Poland"  has  been  delivered  to  Stith- 
Noble  Corporation  of  Hollywood  for 
duplication.  The  film  was  consigned  to 
Duncan  MacD.  Little  of  New  York  for 
forwarding. 

In  New  York  the  picture  was  shown 
by  its  custodian  to  Dr.  Gruszka,  Polish 
Consul  General,  and  to  Colonel  and  Mrs. 
Emer  Yeager  of  Governors  Island,  the 
army  post  in  New  York  harbor.  For 
three  years  the  colonel  was  military 
attache  in  Warsaw,  where  he  was  well 
acquainted  with  Tadeusz  Jankowski,  pro- 
ducer of  the  subject. 

All  of  these  were  much  pleased  with 
the  picture.  At  the  East  Side  High 
School  in  Newark,  N.  J.,  a  Polish  neigh- 
borhood, the  audience  which  viewed  the 
picture  was  large  and  enthusiastic. 

The  music  as  indicated  by  its  producer 
in  type  is  pastoral,  religious  and  folk 
dance,  and  finely  characterizes  the  nature 
of  the  production.  In  its  colorful  Old 
Country  costumes  and  customs  it  makes 
a  most  interesting  documentary  picture. 


H.  D.  Rhynedance,  vice  president 


President  and  Vice  President  of 
Spencer  Lens  Visit  IV Lstern  Area 


302     American  Cinf.matockaphkr    •    July,  1938 


Better  Kodachrome  Results  Come 
from  Choosing  Unusual  Lightings 


By  JAMES  WONG  HOWE,  A.S.C. 


SPEAKING  of  Kodachrome.  the  rule 
books  prescribe  lots  of  sunlight, 
with  the  sun  directly  behind  the 
camera;  in  other  words,  the  flattest  of 
flat  lighting — and  lots  of  it. 

That  is  unquestionably  a  good,  con- 
servative plan  to  follow  when  shooting 
color;  if  you  follow  it  you  can  hardly 
miss  getting  technically  good  color 
scenes.  But  you  also  are  likely  to  miss 
a  lot  of  superlatively  good  color  scenes 
simply  because  the  weather  man  doesn't 
always  deliver  the  sort  of  weather  the 
rule  book  demands. 

All  of  which  is  merely  a  prelude  to 
the  suggestion  that  we  can,  once  we're 
familiar  with  the  process,  toss  the  rule 
book  and  its  injunctions  lightly  aside  and 
not  only  shoot  Kodachrome  under  un- 
conventional lighting  and  weather  condi- 
tions, but  in  surprisingly  many  instances 
get  better  pictures  than  we  would  if 
we  kept  to  conservative  practice. 

This  is  based  on  personal  experience 
shooting  16mm.  Kodachrome  in  my  mag- 
azine cine-kodak.  During  the  intervals 
between  making  studio  films  I  often 
wander  around  California  with  car  and 
camera.  Since  Kodachrome  has  been 
available  my  camera  has  almost  always 
been  loaded  with  color  film. 

Inevitably,  on  these  vacations,  I've  en- 
countered what  Californians  call  "un- 


usual weather" — in  other  words  weather 
that  is  not  perfect.  And  just  as  in- 
evitably I've  often  run  into  pictures  I 
couldn't  avoid  at  least  trying  to  photo- 
graph in  spite  of  the  weather. 

Kesult.s  Successful 

The  results  have  been  successful  much 
oftener  than  would  be  the  case  in  black- 
and-white  camerawork.  For  in  Koda- 
chrome we  don't  have  to  rely  merely  on 
black-and-white  contrasts  in  tonal  rendi- 
tion and  lighting:  we  have  color  con- 
trasts as  well. 

Perhaps  one  of  the  best  examples  of 
this  is  in  a  Kodachrome  scene  I  made 
one  foggy  evening  driving  into  San 
Francisco  from  the  north,  across  the  new 
Golden  Gate  bridge. 

We  reached  there  late  one  afternoon, 
just  as  the  fog  was  rolling  in  from  the 
ocean.  As  we  approached  the  bridge 
all  we  could  see  of  the  Golden  Gate  was 
a  solid  mass  of  gray  fog,  with  the  towers 
and  the  red-painted  cables  of  the  bridge 
thrusting  themselves  from  the  top  of  the 
fog  bank. 

At  different  points  during  our  ap- 
proach I  filmed  it — in  color.  The  results, 
as  I  later  saw  them  on  the  screen,  were 
among  the  few  color  scenes  I've  seen 
which  could  honestly  be  called  "differ- 
ent."   The  fog,  of  course,  was  just  the 


JamcK  W<m<i  Howe,  A.S.C,  taken  a  light  reading  the  while  Irma  Selz  for  The 
New  York  Si(n  maken  a  sketch  of  the  photographer. 


sodden  gray  mass  of  mist  that  the  eye 
saw.  Above  was  blue  sky.  Sticking  starkly 
al)ove  the  fog  were  the  ruddy  towers  and 
cables  of  the  great  bridge. 

I  continued  these  shots  from  the  car, 
as  we  drove  closer  and  finally  plunged 
into  the  fog.  And  I  kept  on  shooting  as 
we  crossed  the  bridge — in  the  fog. 

The  people  who  write  conservative  in- 
structions would  have  held  up  their 
hands  in  horror  —  and  piously  folded 
their  cameras  without  exposing  a  single 
frame.  In  black-and-white,  even  with 
the  best  film,  the  pictures  filmed  from 
the  car,  driving  through  that  fog  would 
have  meant  nothing. 

Effective  in  Color 

But  in  color!  Strange  as  it  seems, 
these  scenes  are  tremendously  effective. 
As  we  drive  along  through  the  fog  all 
that  can  be  seen  is  a  gray  mistiness, 
through  which  the  hood  and  fenders  of 
the  car  can  be  vaguely  discerned.  Sud- 
denly there  appears  a  ruddy  glow  in  the 
misty  distance.  It  grows  quickly  and  di- 
vides into  the  headlights  of  an  approach- 
ing car.  .  .  .  Rushes  close,  and  passes, 
leaving  the  scene  gray  and  mysterious. 

Again  that  same  evening,  I  found  an- 
other opportunity  for  some  unusual  color 
scenes — again  under  conditions  where 
conser\'ative  adherence  to  rules  would 
have  said  I  simply  shouldn't  shoot  color. 

As  we  drove  into  San  Francisco  itself 
dusk  was  falling  and  it  had  commenced 
to  rain.  The  street  lamps  and  signs 
along  Market  Street  had  been  turned  on. 
The  pavements  were  wet  and  glistening. 

To  the  eye  the  effect  was  picturesque 
in  the  extreme.  I  decided  to  try  a  few- 
shots  and  see  what  the  result  would  be 
in  color  movies.  I  held  the  camera  in 
my  hand,  and  made  a  number  of  scenes 
from  inside  the  car  as  we  drove  along. 

On  the  screen  the  scene  was  repro- 
duced almost  perfectly,  though  of 
:?ourse  the  incandescent  lamps  pro- 
duced more  red  than  would  be  strictly 
natural.  But  the  camera  and  film  cap- 
tured faithfully  the  basic  elements  of 
the  scene — the  windshield,  momentarily 
clouded  over  by  raindrops,  then  cleared 
by  the  windshield-wiper.  Beyond  was 
the  shiny  wet  pavement,  full  of  vari- 
colored reflections;  the  lights  of  the  cars 
on  the  street;  the  many  hued  signs  on 
stores  and  offices;  over  all  the  faint,  dif- 
fused illumination  of  the  twilight. 
Shooting  in  the  Rain 

It  is  one  of  the  most  striking  scenes  I 
have  ever  photographed.  It  really  makes 
one  feel  wet. 

A  few  days  later,  stopping  at  Mon- 
terey and  Carmel  on  the  way  back  to 


July,  1938    •    American  Cinematographer  303 


Hollywood,  I  carried  this  a  bit  farther. 
There  was  no  rain  this  time,  but  I  could 
not  resist  shooting-  a  number  of  scenes — 
both  landscapes  and  close-ups  —  in  the 
early  twilight,  after  the  sun  had  set. 

Exposure  would  have  been  a  bit  of  a 
problem  but  for  the  f:1.9  lens  on  my 
camera,  but  the  resulting  scenes  were 
unique.  The  soft  twilight  illumination 
gave  an  effect  I  couldn't  have  obtained 
in  any  other  way. 

Another  unconventionality  I  might 
mention  is  that  when  you  have  to  make 
color  scenes  in  locations  where,  on  a 
sunny  day,  you  would  be  in  heavy  shade, 
you'll  usually  do  a  lot  better  to  wait 
until  you  have  a  cloudy  day.  The  clouds 
diffuse  the  light,  and  actually  give  you 
more  exposure  than  you  could  get  on 
a  bright  day. 

I  have  seen  instances  where,  to  get  an 
exposure  in  such  shadows  on  a  sunny 
day,  one  would  have  to  use  his  lens  wide 
open,  but  where,  on  a  cloudy  day,  it  is 
actually  necessary  to  stop  down! 

When  I  was  photographing  "Tom 
Sawyer"  in  Technicolor  one  of  the  black- 
and-white  habits  I  had  always  to  guard 
against  was  worrying  about  using  light- 
ing to  separate  the  different  planes  and 
objects  in  a  scene.  It  was  hard  to  re- 
member that  in  color  I  had  color-con- 
trasts to  do  what  I  normally  had  to  do 
with  lighting  contrasts. 

For  instance,  there  was  the  scene 
where  Tom  walked  along  the  picket- 
fence,  balancing  a  feather  on  his  nose. 
In  black-and-white  I  would  have  had 
to  backlight  his  figure  to  make  it  stand 
out  from  the  background. 

Working  in  Technicolor  I  caught  my- 
self starting  to  do  the  same  thing.  Then 
I  stopped,  for  the  color  contrast  between 
his  red-brown  hair  and  the  blue  sky  was 
ample  to  give  me  excellent  separation. 
The  same  thing  works  just  as  powerfully 
in  Kodachrome  in  16mm.  or  8mm. 

Nature  Best  Guide 

In  both  professional  and  amateur 
color  cinematography  I  think  much  too 
much  emphasis  is  laid  on  color  com- 
binations. Actually,  the  best  guide  is 
nature.  I  have  never  known  nature  to 
provide  a  color  combination,  either  in 
an  individual  object  or  in  a  scene,  that 
was  not  artistically  pleasing. 

It  may  break  all  sorts  of  learned  laws 
of  color  arrangement — like  some  of  the 
brilliant  green,  red  and  blue  landscapes 
of  Bryce  Canyon  and  Zion  National  Park 
— but  the  result  is  still  pleasing. 

Only  when  man  intrudes  his  faulty 
color-sense  is  there  likely  to  be  a  note 
of  artificiality. 

The  best  guide  as  to  whether  a  color 
scene  will  be  good  or  not  is,  I  think,  the 
simple  test  of  asking  yourself,  "Does 
it  look  pleasing  to  my  eye?"  If  it  does, 
it  is  likely  to  be  all  right  in  color  on 
the  screen.  If  not,  you  will  probably 
find  some  man-made  artificiality  the 
seat  of  the  disturbance. 

The  same  test  can  pretty  well  be  ap- 
plied also  to  lighting  and  weather  condi- 
tions. Assuming  always  that  the  illumi- 
nation is  somewhere  nearly  within  the 


technical  limits  of  the  film  and  your  lens 
and  camera,  you  can  forget  what  the 
rule  book  says  about  perfect,  fiat  light- 


ings and  lots  of  light,  and  decide 
whether  or  not  to  shoot  by  asking  your- 
self "Does  my  eye  accept  it  as  good?" 


Rare  65 -Pound  Quartz  Crystal 
Comes  to  B-L  Factory  from  Brazil 


ONE  of  the  largest  and  finest  quartz 
crystals  ever  to  enter  the  United 
States  recently  went  into  the 
vaults  of  the  Bausch  &  Lomb  Optical 
Company.  Coming  from  the  Province  of 
Minas  Geraes  in  Brazil,  where  it  was 
brought  by  mule  pack  from  the  diamond 
section  of  the  Serra  da  Mantiqueira 
range,  1500  miles  from  the  coast,  the 
huge  crystal  weighs  sixty-three  pounds 
and  cost  $18  a  pound.  Based  on  optical 
quality,  experts  believe  it  surpasses  any 
museum  piece  of  this  type  in  the  country. 

Although  quartz,  a  form  of  silica  oc- 
curring in  hexagonal  crystals,  is  distrib- 
uted throughout  the  world,  no  deposits 
of  suitable  optical  quality  have  been 
found  in  the  United  States. 

Reflect  and  Refract 
The  crystal  is  solid  matter  in  its  most 
perfectly  developed  and  naturally  organ- 
ized condition.  Its  exterior  is  character- 
ized by  a  form  of  extraordinarily  regular 
geometrical  design.  The  internal  struc- 
ture is,  likewise,  so  regular  that  the  ar- 
rangement of  the  structural  units,  or 
chemical  molecules,  is  precisely  the  same 
about  one  point  as  every  other  point. 

"If  the  growth  of  the  crystal  has  been 
slow,  undisturbed,   and   unrostr'ct?d  in 


all  directions,"  says  Fred  C.  Brueck,  who 
has  studied  optical  minerals  for  25  years, 
"its  external  shape  is  that  of  a  closed 
solid  the  surface  of  which  is  entirely 
made  up  of  numerous  plane  facets,  or 
'faces,'  meeting  in  straight  edges,  bril- 
liantly smooth,  as  if  highly  polished. 

"The  arrangement  of  these  facets, 
measured  by  their  mutual  inclinations, 
is  characteristic  of  each  crystal.  Fre- 
quently the  facets  are  not  only  truly 
plane,  but  as  highly  polished  as  though 
done  by  a  jeweler's  lapidary." 

Light  is  reflected  and  refracted  through 
the  crystal.  Viewed  in  sunlight  or  briglit 
artificial  light,  the  scintillation  of  spec- 
trum-colored rays  shows  the  beautiful 
properties  of  transparent  crystal. 

Quartz  is  a  uniaxial  crystal — one  with 
two  different  directions  of  refractive 
index — and  the  interference  colors  may 
be  brought  about  by  the  phase  difference 
in  various  wavelengths  of  lights.  The 
crystal  may  absorb  part  of  the  compo- 
nents of  white  light,  producing  a  definite 
color,  which  not  only  gives  color  to  the 
mineral,  but  also  modifies  the  tone  of 
interference  colors  by  removing  from 
white  light  the  components  absorbed  by 
the  crystal. 


Fred  C.  Brueck  for  the  llitiiscli  and  Lomb  Optical  Company  examines  a  sixty-three- 
pound   quartz   crystal,   recently   imported  from   the   diamond   sectiori   of  Brazil, 

1500  miles  from  the  coast. 


304     American  Cinematographer    •    July,  1938 


Chicago  Cinema  Club 

THE  Chicago  Cinema  Club  staged 
a  party  June  12 — it  was  on  a  Sun- 
day— in  the  form  of  the  First 
Cinema  Club  Fry.  The  members  sup- 
plied their  own  steaks  and  hardware. 
For  those  who  did  not  drive  cars  trans- 
portation was  supplied. 

One  of  the  features  of  the  day's  en- 
tertainment was  the  making  of  a  movie 
from  a  script  supplied  by  Peter  S.  Bezek 
well  in  advance  of  the  stated  day.  It 
was  suggested  the  members  study  it  and 
then  plan  to  film  it  according  to  their 
ovm  conception  of  the  plot. 

There  should  be  an  abundance  of  fun 
when  the  club  sits  in  on  a  showing  of 
the  various  and  varied  interpretations 
of  the  script. 

But  so  that  moviemakers  the  world 
around  may  know  what  it  is  all  about 
we  are  taking  the  liberty  of  reprinting 
Mr.  Bezek's  script — and  we  shall  en- 
deavor to  learn  what  happened  as  a  re- 
sult of  the  party.  The  script  follows: 
Subject: 

The  Chicago  Cinema  Club  Steak 
Fry 

Open  directly  on  a  series  of  scenes 
which  will  show  the  preparations  for  the 
steak  fry — one  man  collecting  wood, 
another  fixing  the  coffee,  another  cut- 
ting the  bread,  another  slicing  the  steak, 
etc.  You  may  wish  to  establish  that 
these  are  Chicago  Cinema  Club  mem- 
bers at  this  point.  Then  into  the  scene 
appears  a  man  with  his  pockets  and 
hands  loaded  with  mushrooms.  Close- 
up  of  him  as  he  speaks  excitedly: 
Look,  fellows,   all   the   mushrooms  we 


want,  just  for  the  picking.  Ah,  good 

old  Ma  Nature! 
Everyone  crowds  around  him.  Some- 
one questions  whether  they  will  be  safe 
to  eat,  but  he  receives  the  reply  that 
they  certainly  look  all  right  and  that  it 
is  the  correct  time  of  year  for  them. 
Eagerly  they  commence  to  cook  them  in 
with  the  steaks.  Fadeout  on  close-up  of 
frying  pan  as  the  mushrooms  are  put  in 
and  fade  in  on  scene  as  the  mushrooms 
are  being  forked  out.  Someone  jokingly 
suggests: 

Just  for  the  sake  of  science  and  our  own 
stomachs,  let's  try  them  out  on  the 
dog — what  do  you  say? 

They  all  agree  and  the  plan  is  carried 
out.  The  dog  eats  them  hungrily  as  all 
watch  him  with  expectation.  Include 
several  close  ups  of  the  various  faces. 
Finished,  the  dog  continues  to  act  nor- 
mally, so  everyone  laughs  at  the  doubt- 
ers and  at  their  own  fears,  and  all  com- 
mence to  eat.  Somewhere  among  these 
eating  scenes  include  a  brief  shot  of  the 
dog  wandering  about  the  campfire  and 
then  slowly  walking  off  into  the  woods. 

Abruptly,  after  the  food  has  disap- 
peared and  everyone  is  lounging  happily 
about  the  fire,  a  farmer  appears  on  the 
scene.  Close  up  of  him  as  he  asks: 
Sorry,  boys,  for  butting  in,  but  do  any 
of  you  own  the  dead  dog  that's  lyin' 
down  the  road  a  piece  ? 

Quick  reaction  shots  of  everyone 
silently  mouthing  the  words  "Dead 
dog!"  A  quick  search  tells  them  that 
their  dog  quite  definitely  is  gone.  They 
thank  the  farmer  and  he  leaves.  Now 
everyone  commences  to  feel  strange 
pains  and  it  is  not  long  before  many  are 


stretched  full  length  on  the  ground. 
(You  can  carry  these  scenes  out  as  far 
as  your  taste  and  dramatic  ability  al- 
low.) 

Then,  just  as  abruptly  as  before,  the 
farmer  reappears  leading  their  dog 
which  is  walking  as  if  in  perfect  health. 
The  boys  all  rejoice  and  question  the 
farmer  about  the  dead  dog.  He  replies 
in  a  nonchalant  manner: 
Oh,  yes,  guess  I  didn't  say — the  other 
dog  was  run  over  by  a  car  out  there 
on  the  highway. 

Fade  out  on  reaction  shots  or  on  the 
campfire. 


Minneapolis  Cine  Club 

Ormal  I.  Sprungman  retires  from  the 
editorship  of  the  Cine  Clubber  with  the 
issue  of  June  22.  The  official  organ  of 
the  Minneapolis  Cine  Club  has  been 
under  the  same  hand  since  its  first  issue, 
and  its  latest  was  Volume  2,  No.  6.  It 
is  hardly  likely  any  other  amateur  club 
has  had  the  advantage  of  possessing  an 
editor  with  the  practical  magazine  back- 
ground equaling  that  of  Minneapolis. 

The  retiring  editor  thinks  he  should 
go  out  with  the  old  officers  and  let  a 
"new  type-pounderouter"  bring  the  news 
in  the  fall.  The  Minneapolis  club  has 
indeed  been  fortunate — and  its  bulletin 
in  all  departments,  in  conception,  appear- 
ance, content  and  sparkle,  has  been 
something  out  of  the  ordinary. 

The  closing  meeting  of  the  season,  on 
June  22,  was  held  at  the  Minnesota 
Valley  Country  Club.  Dan  Billman  Jr. 
screened  1200  feet  of  color  exposed  last 
February  on  Oahu  Island.  Thirty  record- 
ings were  used  in  the  synchronized 
accompaniment. 

The  Canadian  National  Railways  is 
sponsoring  a  transcontinental  camera 
tour  into  the  Pacific  Northwest  and  the 
Candian  Rockies.  The  train  leaves  Min- 
neapolis August  1  and  returns  August  15. 
Title  Kinks 

Park  Cine  Laboratory  of  New  York 
City,  makers  of  special  trick  titles  used 


Electrophot  Exposure  Meter 

Designed  to  conform  to  the  demands 
for  an  instrument  that  will  ineet  re- 
quirements for  amateur  and  professional 
photographer  the  Rhamstine  Electrophot 
Model  10  is  announced  by  J.  Thomas 
Rhamstine  of  Detroit.  It  is  1  15/16  by 
2  5/16  by  %  inches  in  dimensions.  It 
weighs  4%  ounces. 

"Desirrned  for  both  movies  and  stills 
under  all  practical  conditions,"  says  the 
manufacturer,  "it  combines  the  principle 
of  direct  reading  in  f  stops  for  still  pic- 
tures with  an  instantly  available  rotat- 
ing dial  for  special  films  and  altered 
speeds  as  well  as  for  movies." 


The  Rhamfitine  Model  10  Electrophot  expoaure  meter  for  motion  pictnrcfi  and  stills 


July,  1938    •    American  Cinematographer  305 


in  the  club's  recent  Movie  Party  show, 
unfolds  its  professional  secrets  in  a  note 
to  the  Cine  Clubber  editor: 

"We  use  several  methods  for  super- 
imposing titles  on  backgrounds.  One 
method  is  to  shoot  the  background  first, 
wind  back,  then  shoot  the  title.  This, 
of  course,  applies  only  to  negative  titles, 
since  the  white  card  would  photograph 
black  and  burn  up  the  background.  For 
direct  positive  titles,  we  use  one  of  two 
methods,  whichever  happens  to  be  most 
convenient  for  the  particular  job. 

"We  make  a  paper  negative  or  nega- 
tive photostat  of  the  background  and 
print  the  title  on  the  negative,  or  we 
have  the  background  airbrushed  on 
celluloid  or  glass  and  place  the  title 
card  behind  it  on  the  title  board.  Either 
one  of  these  two  methods  permits  us 
to  do  the  filming  in  one  operation. 

"For  fading  on  positive  stock,  we  use 
an  Eastman  Model  A  camera,  rebuilt 
with  forward  and  reverse  takeups,  auto- 
matic dissolves,  wipes,  and  other  gadgets. 
Lighting  used  consists  of  two  165-watt 
projection  lamps,  about  six  inches  in 
front  of  the  card  and  about  two  inches 
on  either  side  of  the  card. 

"In  making  the  fade,  our  cameraman 
gradually  slows  down  his  cranking  until 
he  comes  to  dead  stop,  meanwhile  slowly 
opening  up  the  lens  from  f/5.6  to  f/3.5, 
its  widest  aperture.  This  i-esults  in 
enough  over-exposure  to  make  a  very 
smooth  fade." 


Los  Angeles  8mm  Club 

The  meeting  of  the  Los  Angeles  8mm 
Club  for  June  was  held  at  the  newly  re- 
decorated Eastman  auditorium  on  Santa 
Monica  Boulevard,  on  the  14th,  and  was 
called  to  order  at  8  p.m.  by  President 
C.  G.  Cornell. 

A  committee  consisting  of  John 
Walter,  chairman;  William  Horton  and 
Phil  Richards  was  appointed  to  report 
to  the  club  at  its  July  meeting  on  the 
advisability  of  incorporating.  The  vari- 
ous committees  were  then  called  upon 
for  their  reports,  among  which  was  a 
splendid  report  of  the  club  outing  held 
on  May  21  at  Hidden  Valley.  Those  pic- 
tures are  to  be  shown  at  the  July  meet- 
ing and  a  prize  awarded  to  the  best  one. 

Volume  II,  No.  3,  of  Thru  the  Filter 
was  distributed  and  it  was  without  doubt 
the  finest  edition  so  far  this  year.  Miss 
Jane    Gay    announced    that    since  she 


g  Enlarged  Reduced  g 

Geo.  W.  Colburn  Laboratory 

Special   Motion   Picture  PrintinK 
1197  MERCHANDISE  MART 
CHICAGO 


KODACHROME 

DUPLICATES  ',tZ: 

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YO  0331 

645  North  Martel  Ave.,  Hollywood,  Calif. 


would  not  be  in  Los  Angeles  to  edit  the 
August  number  the  assistant  editor, 
Randolph  Clardy,  would  take  over  the 
task,  which  means  that  it  will  be  in 
capable  hands.  Mr.  Clardy,  however, 
denies  that  he  intends  putting  out  a  Sun- 
day supplement  in  full  color  but  says  the 
next  issue  might  be  in  sound. 

The  next  meeting  has  been  designated 
as  "gadget  night."  Every  member  was 
urged  to  bring  his  pet  hallucination  and 
that  a  suitable  prize  will  be  awarded 
the  most  novel,  useful,  interesting  and 
original  gadget.  It  was  also  announced 
that  at  the  July  meeting  a  speaker  from 
one  of  the  major  studio  scenario  depart- 
ments would  tell  the  members  in  thirty 
minutes  what  it  had  taken  him  thirty 
years  to  learn  about  writing  simple, 
workable  scenarios,  applicable  to  our 
needs. 

Last  and  in  many  respects  most  im- 
portant was  the  showing  and  judging 
by  all  those  present  of  the  pictures  sub- 
mitted for  the  club's  semi-aimual  con- 
test. Twelve  subjects  were  entei-ed  and 
were  run  in  an  order  determined  by  lot. 
No  names  were  given  other  than  the 
title  of  the  picture.  In  the  order  in 
which  they  were  shown  they  were  as 
follows : 


HUGO 
IVIEYER  1 

K          ^^PEEOS  f/\5  TO  f/55 

m  LENSES 

Jf    HUGO  MEYER  8.  CO 

245  W.  5^  ST.,N«WYO«K 

NATURAL  COLOR 

8X10   PRINTS  $7.50 

5  X  7   PRINTS  $5.00 

From  KODACHROME 

Attractively  mounted  enlargements, 
glossy  or  semi-matt  surfaces.  from 
35mm.  and  16mm.  transparencies.  Color 
Prints  from  KODACHROME  as  fine 
as    can    be    made    regardless    of  price. 

R||T|jr|klQrQA    "The    Leadirg    Make-s  of 
U  I  nLllDLIIU        ural  Cclor  Photographs" 
4961    Sunset   Blvd.        Dept.   A-7        Hollywood,  Calif. 


"Our  Dog,"  "Yosemite  in  the  Spring- 
time," "Pacific  to  Atlantic— 1936,"  "The 
Rise  and  Fall  of  Mary  Margaret,"  "The 
Golf  Widow,"  "Sherwood  Lake  Outing," 
"Yosemite  in  the  Winter,"  "Spring," 
"Death  Valley,"  "Needed  a  Social  Secre- 
tary," "Hell's"  Bells,"  "Holidays  With  the 
Camera." 

Owing  to  the  lateness  of  the  hour  the 
ballots  were  not  counted,  but  it  was  de- 
cided to  award  the  prizes  at  the  July 
meeting.  Those  who  had  better  be  there 
to  receive  their  awards  are  A.  B.  Cal- 
low, first  prize,  for  his  picture  in  koda- 
chrome,  "Needed:  A  Social  Secretary"; 
Robert  W.  Teorey,  second  prize  for  "The 
Golf  Widow,"  and  Bion  B.  Vogel,  third 
prize  for  "The  Rise  and  Fall  of  Mary 
Margaret." 

The  meeting  was  adjourned  at  11:30 
due  to  the  fact  several  of  the  members 
considered  the  following  day  a  "working 
day." 

BION  B.  VOGEL,  Secretary. 
T 

About  That  Light  Switch 

John  Walter  in  Thru  the  Filter,  official 
organ  of  the  Los  Angeles  8mm.  Club, 
gives  a  tip  on  the  way  he  creates  a 
profanitysaver  or  something,  and  this  is 
the  way  he  sets  it  forth.  (It  may  be 
remarked  in  passing  the  speaker  quali- 
fies as  a  real  gadgeteer,  for  to  the  front 
cf  his  camera  didn't  he  attach  a  field 
glass  holder  for  telephoto  shots?): 

One  of  life's  mysteries  is  why  the 
light  switch  is  always  a  mile  from  your 
projector.  Remember  the  times  you,  your 
frau  or  a  friend  have  stumbled  to  and 
from  that  switch?  Don't  stumble,  fumble 
or  bumble  any  more.  Spend  50  cents  and 
turn  your  lights  off  and  on  without  mov- 
ing your  seat. 

What  to  buy  and  how  to  put  it  to- 
gether: 15  feet  (at  least)  double  length 
wire;  1  plug;  1  switch;  1  double  floor 
plug.  All  of  these  can  be  purchased  at  a 
10  cent  store. 

The  switch  is  placed  at  one  end  of  the 
dcuble  light  wire,  the  plug  at  the  other 
end.  The  double  floor  plug  is  cut  into 
one  only  of  the  wires  in  the  line,  at  a 
distance  sufficient  so  the  plug  from  your 
floor  lamp  can  be  placed  in  the  double 
floor  plug. 

The  length  of  your  light  wire  depends 
on  the  distance  from  your  projector  to 
your  electricity  source.  It's  better  to  have 
more  wire  than  you  need  than  not 
enough. 

This  may  sound  and  look  like  a  Tizzie 
Lish  recipe,  but  its  the  handiest  doo-dad 
we've  had  in  many  a  moon.  (Patent, 
copyright  SXX.) 


Alhambra  Movie  Makers 

At  the  June  meeting  of  the  La  Casa 
Movie  Makers  of  Alhambra  the  wheels 
of  time  were  turned  back  to  the  days  of 
early  efforts  by  the  Ifimm.  fans.  Mem- 
bers were  asked  to  run  the  first  films 
ever  made  by  each.  Mr.  Oden  ran  a  film 
in  Kodacolor  showing  the  1932  Olym- 
pic Games. 

Mr.  Battles  showed  his  first  effort 
made  in  1931  of  a  cross-country  motor 


300     American  Cinematographer    •    July,  1938 


trip  to  the  East  and  also  shots  of 
scenes  of  his  boyhood  days  on  the  farm. 

Mr.  Carnahan  screened  a  fine  film 
made  of  the  historic  Huntington  estate 
of  Pasadena.  These  films  were  of  much 
interest,  as  it  clearly  showed  the  im- 
provements made  by  manufacturer  and 
also  by  the  movie  maker. 

In  the  8  mm.  class  Mr.  Johns  showed  a 
fine  film  of  Glacier  Park  in  color.  This 
was  made  on  the  occasion  of  the  annual 
outing  of  the  Sierra  Club,  in  which  over 
a  hundred  took  part. 

Recently  the  La  Casa  Club  has  invited 
a  group  of  "candid  camera"  enthu- 
siasts to  join  in  the  interesting  meetings 
held  monthly.  Of  this  clan  Mr.  Thomp- 
son showed  a  large  number  of  35mm. 
slides  in  color  of  Bryce  Canyon.  He 
clearly  demonstrated  the  excellent  man- 
ner the  small  still  camera  adds  to  the  in- 
terest of  the  motion  picture. 

It  was  voted  to  hold  no  meetings  in 
July  and  August  because  of  the  vacation 
season.  The  next  meeting  in  Septem- 
ber will  give  a  showing  of  results  of 
another  "uncut  film  contest"  on  which 
members  will  be  grooming  themselves 
during  the  summer. 
R.  A.  BATTLES,  Publicity  Chairman. 


Los  Angeles  Cinema  Club 

The  Los  Angeles  Cinema  Club  met 
June  14  for  dinner  at  the  Mona  Lisa. 

President  Gram  read  a  tribute  to  Dr. 
LaTouche  that  appeared  in  the  Dental 
Magazine.  Mr.  Thomas  spoke  on  articles 
appearing  in  current  issues  of  photo- 
graphic magazines  and  also  methods  that 
help  in  editing  film. 

President  Gram  requested  members 
having  guests  to  please  introduce  them. 

A  scenario  that  was  received  from 
the  Chicago  Cinema  Club  was  read. 

Group  camera  insurance  was  brought 
up  for  discussion.  The  matter  was  re- 
ferred to  the  board  of  directors  for  in- 
vestigation and  report. 

President  Gram  announced  that  the 
contest  for  the  evening  would  be  judged 
by  the  entire  membership.  The  con- 
test films  were  projected  with  the  fol- 
lowing results  in  order  of  awards: 

1.  "The  Pumpkin  Pie,"  by  Mr.  Bennett 

2.  "The  Reel  Answer,"  by  Mr.  Orme 

3.  Mr.  Tracey  Hall's  picture  of  Nor- 
way 

The  meeting  adjourned  at  10:55  p.m. 

At  the  preceding  meeting  in  May 
a  100-foot  film  taken  by  Mr.  Nelli  was 
shown  for  criticism.  Also  projected  for 
criticism  was  a  film  submitted  by  Mr. 
Miller,  a  guest  of  the  club. 

The  pictures  taken  by  the  club  of 
the  picnic  at  Lancaster  Lake  in  1933 
were  shown. 

Film  previously  awarded  to  Profes- 
sor Newmeyer  for  experimental  study 
was  shown.  They  related  to  the  effect 
of  speed  and  direction  of  movement  of 
persons  and  automobiles.  He  also  showed 
some  excellent  shots  taken  by  students 
at  U.  S.  C.  on  related  subjects. 

Mr.  Mitchell  conducted  the  monthly 
review  and  discussion  of  current  litera- 
ture on  motion  pictures  and  read  part 


of  an  article  on  supersensitizing  film 
by  the  use  of  mercury.  Articles  on  ex- 
posure, lighting  and  camera  speeds  were 
called  to  the  attention  of  the  members. 

William  McGrath,  professional  screen 
writer,  spoke  on  horse  sense  of  pho- 
tography, expressing  many  rules  and 
methods  of  obtaining  continuity  in  pic- 
tures. 

Elton  Walker's  kodachrome  pictures 
of  Yellowstone  Park  were  shown. 


Philadelphia  Cinema  Club 

Musical  background  for  amateur 
moving  picture  film  has  become  almost 
commonplace,  and  is  regularly  heard  at 
every  meeting  of  the  Philadelphia  Cin- 
ema Club. 

Something  novel,  however,  was  pre- 
sented at  the  June  meeting,  when  "Wan- 


NATURAL  COLOR 

Enlargement  Prints 

from  your  own 

35mm.  Kodachrome  Transparencies 
8x10  Prints  $15.00  each 
11x14  Prints  $20.00  each 

All  prints  beautifully  mounted  ready  for 
framing.  Satisfaction  guaranteed.  We  reserve 
right  to  refuse  to  make  prints  from  imperfect 
transparencies. 

"Quality  ]mnts  our  watchword" 
HESSERCOLOR  CORP. 

6605  Hollywood  Blvd.,  Rm.  213,  Hollywood,  Cal. 
 Dealers,  write  for  agency  terms 


CAMERAMAN'S 
PERFECT 
EQUIPMENT 


THE 


GOER 


KINO-HYPAR  F2.7  15  mm 
WIDE-ANGLE  LENS 
and  the 

KINO-HYPAR  ¥2.1  75  mm  (3  ') 
for  LONG-DISTANCE  SHOTS 
and  CLOSE-UPS 

can  now  be  had  as  Standard  Equip- 
ment   with    the    BO  LEX  16mm 
MOVIE  CAMERA.     Other  focal 
lengths  can  also  be  supplied. 
The   distributors   of   the  precision- 
built    BOLEX    camera    made  this 
choice  after  a  thorough  test  of  the 
American-made  GOERZ  LENSES  to 
assure  their  customers  of  the  best 
possible  picture  results. 

Specify  GOERZ  LENS  EQUIP- 
MENT when  purchasing  the 
BOLEX  CAMERA  from  the 
American  Bolex  Company  or 
authorized  Bolex  dealers. 

For    fiirthfr    lens  information 
address  Dept.  A.C.7 


C.P.GOERZ  AMERICAN  OPTICAL  CO. 


derlu.st,"  an  8mm.  Kodachrome  presenta- 
tion of  Mr.  and  Mrs.  F.  Hirst,  was  re- 
exhibited  to  the  members,  with  a  com- 
plete musical  score  prepared  under  the 
supervision  of  Mrs.  Hirst  and  played  by 
her  on  the  piano  for  the  full  comple- 
ment of  three  reels. 

"Wanderlust"  is  one  of  the  finest 
8mm.  films  ever  exhibited.  The  title 
work  amplifies  the  picture  work,  and  the 
further  addition  of  the  musical  accom- 
paniment represents  grand  entertain- 
ment. 

"Europe  1937"  was  the  title  of  a 
16mm.  color  presentation  by  Mr.  Mc- 
Candlish,  one  of  our  newer  members 
and  represents  his  first  offering  in  this 
line. 

Messrs.  Bessor  and  MacLain  put  to- 
gether their  "Poem  of  the  Seasons,"  a 
color  presentation  depicting  the  bril- 
liance of  autumn  coloring,  again  en- 
hanced by  a  dual  turntable  musical  ac- 
companiment. 

"A  Technical  Thought,"  by  G.  Pitt- 
man,  chairman  of  the  Technical  Commit- 
tee, reviewing  from  both  a  statistical 
and  technical  viewpoint  the  findings  in 
our  last  film  contest,  highlighted  the 
evening's  entertainment. 

The  conditions  of  the  fall  contest 
were  announced  at  this  meeting,  the 
principal  departure  being  the  limitation 
to  100  feet  of  any  presentation  in  this 
major  contest.  The  results  achieved  in 
our  50-foot  contests  were  so  universally 
good  that  it  is  felt  100  feet  will  be 
ample  for  the  major  contest  of  the  year. 
More  details  of  this  contest  will  be  avail- 
able at  a  later  date. 

B.   N.  LEVENE, 
Chairman  Publications  Committee. 


National  Adapting  Filmos 

to  Accommodate  Filters 

National  City  Laboratories,  22  West 
Twenty-second  street,  New  York,  an- 
nounces that  Filmo  cameras  similar  to 
Eyemos  in  shape  may  be  modified  to 
accommodate  Wrattan  filters  in  indi- 
vidual holders  so  that  one  filter  will 
serve  all  lenses.  The  cost  for  modifi- 
cation and  for  filter  holders  is  low. 

Two  of  the  large  newsreel  companies 
already  have  had  all  their  Eyemos  so 
equipped,  another  one  of  them  all  but 
one,  which  will  be  modified  as  soon  as 
it  may  be  spared  from  its  station,  and 
two  others  are  arranging  to  do  the 
same  thing. 

So  far  as  the  adapters  are  aware, 
this  is  the  first  time  Eyemos  have  been 
equipped  to  accommodate  gelatin  filters 
between  the  lens  and  the  film.  The  initi- 
ation of  the  service  was  due  to  the  many 
requests  received  by  the  manufacturers 
during  the  last  decade  for  these  filter 
adaptations. 


317  E.  34  St. 
American  Lens 


New  York,  N.  Y. 
Makers    Since  1899 


Dr.  L  S.  Hasek  with  "Yellowstone  Na- 
tional Park"  won  the  grand  prize  in  the 
contest  of  the  Sioux  City  Amateur 
Cinema  Club  and  also  the  first  prize  in 
the  16mm.  division.  The  winner  in  the 
8mm.  section  was  H.  Hopkinson  with 
"Cutting  Ice  on  Crystal  Lake." 


July,  1938    •    American  Cinematographer  307 


TIMED  RIGHT 


FOR  YOUR 

SUMMER 

PHOTOGRAPHY 


Compact . . . 
Simple . . . 
Low- Priced . . . 


EXPOSURE  METER 


No  matter  when  or  where  you  go  this  summer,  take 
along  the  new  Weston  Junior.  You'll  appreciate  its 
small,  convenient  pocket  size.  But  most  of  all,  you'll 
appreciate  its  new,  "all-inclusive"  scale,  designed  for 
easy  and  rapid  use.  Just  point  the  meter  .  .  .  match  the 
light  value  number  and  your  film  speed  number  by  a 
flick  of  the  knurled  knob  .  .  .  and  you  automatically 
have  all  aperture-shutter  combinations  in  full  view. 
The  price  you'll  appreciate,  too.  It's  only  $15.50  for 
a  meter  WESTON-built  .  .  .  one  that  will  assure  years 
of  dependable  exposure  results  with  still  or  cine 
cameras.  Be  sure  to  see  the  Weston  Junior  at  your 
dealer's  today;  or  write  immediately  for  literature. 
Weston  Electrical  Instrument  Corporation,  598  Fre- 
linghuysen  Avenue,  Newark,  New  Jersey. 


New  Bcll-Howcll  Titlcr  Designed 
for  Use  with  Filmo  8mm.  Product 


The  new  Filmo  Bell  &  Howell  8mni. 
titler  consists  of  a  base  and  camera  stand 
cast  of  aluminum  in  one  piece  and  an 
illumination  arm  which  fastens  securely 
to  the  camera  support  and  bears  two 
mazda  lamps.  At  the  upper  end  of  the 
camera  stand  is  a  special,  highly  cor- 
rected copying-  lens  in  the  Filmo  snap- 
on-mount,  to  which  the  camera  is  fast- 
ened in  the  usual  way  after  the  regular 
photographic  lens  has  been  removed. 

The  titler  lens  is  accurately  prefocused 
on  the  title  card  holder  on  the  base, 
directly  beneath  the  camera. 

Legible  Typewritten  Titles 

The  holder  takes  title  cards  3\4  by 
2 'liK  inches,  which  size  was  selected  as 
being  the  best  for  reproducing  typewrit- 
ten titles  so  that  they  appear  entirely 
legible  on  the  screen.  Snapshots,  maga- 
zine cut-outs,  and  other  suitable  back- 
grounds are  readily  available  in  this  size. 

The  illumination  arm  fits  firmly  in  its 
socket  on  the  camera  stand,  and  the  tw() 
lamps  and  reflectors  are  permanently 
fixed  in  the  exact  position  which  elimi- 
nates any  possible  glare  from  the  surface 
of  the  title  card.  It  is  even  possible  to 
use  a  glossy  finished  photograph  as  a 


New  Bell  and  Howell  titler  in  operation 
with  a  Filmo  f<.    It  may  be  used  for 
titling,  animation  work,  or  to  film  small 
still  or  moving  subjects. 


background,  without  recording  highlights 
in  the  title. 

Two  sets  of  lamps  are  furnished  with 
the  titler,  providing  correct  illumination 
for  films  of  various  emulsion  speeds. 
Panchromatic  reversal  and  Type  A  Koda- 
chrome  films  call  for  the  75-watt  lamps, 
while  positive  film  and  regular  Koda- 
chrome  plus  the  blue  filter  require  the 
100-watt  lamps. 

Animation  Stand 

Since  the  newer  Filmo  8s  are  all 
equipped  with  the  single  exposure  de- 
vice, the  titler  is  actually  a  most  efficient 
miniature  animation  stand.  Animated 
maps,  drawings,  cartoons,  etc.,  are  all 
easily  made. 

The  titler  can  be  used  in  a  horizontal 
position,  with  the  camera  resting  on  its 
own  base,  and  since  the  titler  lens  has 
the  remarkable  depth  of  field  of  more 
than  one  inch,  objects  of  considerable 
depth  may  be  photographed  in  sharp 
focus.  Insects,  flowers,  butterflies,  etc., 
will  show  up  in  color  as  well  as  in  black- 
and-white,  for  the  versatility  of  the  titler 
permits  enlargement  of  all  kinds  of  small 
objects. 


A  sturdy,  visible-action,  self-timing 
device  for  the  Leica  camera  recently  has 
been  introduced  by  E.  Leitz,  Inc.,  manu- 
facturers of  the  Leica.  The  spring 
mechanism  that  trips  the  shutter  takes 
from  12  to  15  seconds  to  unwind. 


308     American  Cinematograimikr    •    July;  1938 


Mountain  Pack  Trip  with 

Camera  Has  Real  Appeal 

(Continued  from  Pui/e  295) 
and  the  Moviekon  for  color  movies.  Al- 
though the  latter  is  very  light  in  weight, 
it  combines  most  of  the  features  of  the 
heavier  lOO-foot  cameras. 

In  addition  it  has  a  range  finder  for 
accurate  focusing,  an  F.1.4  lens,  and  a 
self  timing  device  for  delayed  starting. 
With  the  self  timer  it  is  possible,  with- 
out waste  of  footage,  to  include  one's 
self  in  the  picture. 

For  mountain  photography  I  recom- 
mend Kodachrome  (ilm,  and  I  usually 
order  tropical  pack  or  else  seal  the 
regular  packs  with   adhesive  tape  in 
order  to  keep  out  trail  dust,  of  which 
there   is   an   abundance.    I   carry  an 
extra  meter  and,  of  course,  a  tripod. 
Following   this   last   series   of  scenic 
shots  in  "The  Trail  Song"  there  is  an- 
other group  of  action  pictures  centered 
around  mid-day  lunch  activities.  They 
include  a  swim,  the  preparation  and  eat- 
ing of  a  typical  trail  lunch,  and  finally 
the  sun  bath  and  rest. 

Mountain  Moods 
For  our  final  series  of  mountain  shots 
we  feature  a  contrast  of  the  varying 
moods  of  the  mountains.  We  compare 
the  cold  and  defying  mood  of  rugged 
Mount  Lyell  and  its  spectacular  glacier 
with  the  peaceful  and  calm  moods  cf 
other  smaller  peaks  with  gentle  slopes 
and  pastel  shades  of  color. 

The  final  action  series  depicts  more 
boys'  activities  during  our  three-day 
camp  on  the  lovely  white  sand  shores 
of  Lake  Tenaya. 

The  quotation  "The  Rest  at  the  End 
of  the  Carry"  introduces  a  humorous 
shot  of  one  of  the  burros  lying  down  to 
recover  from  a  hard  day's  "carry."  The 
last  title,  "The  Trail  Song  Is  Ended, 
but  the  Memories  Will  Linger  On," 
closes  the  picture. 

The  opening  and  closing  titles  are 
superimposed  on  an  action  background 
of  the  boys  and  burros  walking  over  a 
horizon.  The  entire  film  is  projected 
with  a  musical  background  of  records 
and  a  description  dialogue. 

Due  to  an  excess  of  snow  this  year, 
the  western  mountain  country  will  open 
rather  late.  These  few  suggestions  will 
be  published  in  time  to  encourage  the 
ambitious  cinematographer  to  plan  a  de- 
lightful vacation  trip  that  wall  present 
endless  opportunities  to  photograph  a 
movie  that  will  provide  continuing  enjoy- 
ment. 


Captain  Hervey  Completes 
Hollywood  Study  Course 

Captain  W.  W.  Hervey  of  the  Signal 
Corps  of  the  United  States  Army  has 
left  Hollywood  to  return  to  Washing- 
ton after  completing  a  nine  months' 
course  of  study  in  motion  picture  pro- 
duction under  the  auspices  of  the  Re- 
search Council  of  the  Academy  of  Mo- 
tion Picture  Arts  and  Sciences.  While 
in  Hollywood  the  Captain  spent  some 
time  in  each  department  of  each  studio 
studying  actual   production  techniques. 


Weston  Exposure  Meter  Dial 
Equipped  for  High  Speeds 

The  calculator  dial  on  the  Weston  ex- 
posure meter  (Model  650)  has  recently 
been  modernized  to  show  film-speed  set- 
tings as  high  as  250  Weston.  This  in- 
creased range  of  values  goes  consider- 
ably beyond  any  of  the  new  ultra-speed 
films  now  available,  or  any  which  are 
likely  to  be  introduced  in  the  future,  it 
is  claimed.  As  an  example,  the  Weston 
film  speed  for  the  new  Agfa  ultra-speed 
film  is  64  Weston. 

Weston  exposure  meters  with  the  for- 
mer dial  plate  on  which  40  Weston  is  the 
top  film-speed  rating  can  easily  be  used 
fof  the  super-speed  films  .simply  by  shift- 
ing the  dial  a  proportionate  distance  be- 
yond the  final  value.  If  desired,  however, 
the  original  dial  can  be  replaced  with 
one  of  the  newer  type  by  retui'ning  the 
meter  to  the  Weston  Electrical  Instru- 
ment Corporation  through  your  local 
photo  supply  dealer. 

This  change  will  be  made  at  a  charge 
of  %2  if  the  meter  is  returned  solely  for 
this  purpose,  or  for  50  cents  if  it  is  in 
conjunction  with  other  repairs  on  Model 
650. 


FOR  SALE 


BELL  &  HOWELL  SINGLE  SYSTEM,  COM- 
plete :  rebuilt  B&H  sound  printers;  rebuilt 
Duplex  sound  and  picture  printers  ;  200  ft. 
Stinemann  developing  reels  ;  used  measuring 
machines.  Complete  Akeley  camera  equipment. 
Akeley  1000-ft.  magazines,  synchronous  camera 
motors.  Motors,  sunshades,  finder-,  lenses  a.n^ 
all  accessories. 

Write,   wire  or  cable ; 

MOTION    PICTURE    CAMERA    SUPPLY.  INC. 

723  Seventh  Avenue  New  York  City 

Cable:  Cinecamera 


THE  WORLD'S  LARGEST  VARIETY  OF 
Studio  and  Laboratory  equipment  with  latest 
improvements  as  used  in  Hollywood  at  tremen- 
dous savings.  New  and  Used.  Mitchell,  Bell- 
howell,  Akeley.  De  Brie,  Evemo,  animation 
process  cameras,  lenses,  color  magazines,  adapt- 
ors, lighting  equipment,  silencing  blimps,  dollies, 
printers,  splicers,  moviolas,  motors,  light-te~,tf rs, 
gear  bc.xes,  synchronizers.  Guaranteed  optically 
and  mechanically  perfect.  Send  for  bargain 
catalogue. 

HOLLYWOOD   CAMERA  EXCHANGE 
1600  Cahuenga  Blvd..  Hollywood,  Calif. 

Cable:  Hocamex 


WE  BUY,  SELL  AND  RENT  PROFESSIONAL, 
AND  16  mm  EQUIPMENT  NEW  AND  USED. 
WE  ARE  DISTRIBUTORS  FOR  ALL  LEAD- 
ING MANUFACTURERS.  RUBY  CAMERA 
EXCHANGE,  729  Seventh  Ave..  New  York  City. 
Established  since  1910. 


BELL  AND  HOWELL  170°  CAMERAS— High 
speed  shuttles — high  speed  gear  boxes — 400  and 
1000  foot  Bell  &  Howell  magazines — Bell  & 
Howell  tripods — motors.  Mitchell  silenced  cam- 
eras. AKELEY  and  DEBRIE  CAMERAS.  Akeley 
motors.  High  speed  motors.  Sunshades,  lenses 
and  finders. 

Write  or  Wire 
CAMERA  EQUIPMENT,  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 

NEW  PRECISION  TEST  REEL  FOR  PRO.JEC- 
tion  and  .Sound.  Developed  by  prominent  SMPE 
member.  Combination  visual,  sound  tests  for 
all  soundtrack  adjustments.  Indicates  ti'avel 
ghost,  sidesway,  picture  jump,  etc.  Contains 
visual  targets  and  constant  level  frequencies. 
W.  Fj.  Mirrophonic  recording.  Truly  simpli- 
fied, easily  understood.  Comparative  value, 
.$7.5.00.  With  full  instructions,  $29.50.  16mm 
edition,  $17.50.  S.O.S.,  636— 11th  Ave.,  New  York. 


Fremont  H.  S.  Student  Body 
Makes  Feature  Length  Film 

A  T  THE  .John  C  Fremont  high  school 
/-*  in  Los  Angeles  the  drama,  photog- 
L  A.  raphy  and  art  departments  have 
for  the  past  year  been  producing  a  fea- 
ture length  16mm.  motion  picture,  be- 
lieved to  be  one  of  the  first  of  its  kind. 
The  entire  production  is  featured  with 
student  actors  and  was  comjjleted  with- 
out any  professional  assistance. 

"Our  World,"  as  the  film  has  been 
titled,  is  the  story  of  a  group  of  high 
school  students,  typical  of  those  found 
everywhere  in  the  country,  who  fight, 
love  and  reform  themselves. 

In  this  hour  a  boy  and  girl  more  or 
less  fall  in  and  out  of  love,  another 
boy  and  girl  fight  and  two  boys  have 
several  very  authentic  battles  over  their 
respective  "gal  friends." 

Embodied  in  the  cinema  are  also 
scenes  of  school  campus  life  photo- 
graphed  at   Fremont  High. 

The  picture  aims  to  be  different  from 
other  educational  motion  pictures  in  the 
fact  that  it  is  human,  has  a  lesson,  and 
is  yet  most  entertaining.  It  was  pro- 
duced by  those  who  know  what  school 
life  is  like — those  who  live  it. 


ONE  70  mm.  FEARLESS  silenced  camera;  two 
1000  ft.  magazines  ;  50,  75  and  100mm  Ft 
lenses.  This  equipment  is  in  perfect  me- 
chanical condition.     Write  or  wire. 

CAMERA  EQUIPMENT,  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 


BELL  &  HOWELL  SILENCED  camera  No.  869- 
170  degree  shutter — high  speed  shuttle — 3  lenses 

— tripod — up.-ight  finder  $1150.00 

Akeley  camera — 3   lenses — 5   magazines — tripod 

cases  $675.00 

CAMERA  MART,  INC. 
70  West  45th  Street  New  York  City 


BELL  &  HOWELL  35  MM.  COMPLETE 
si'enced  professional  camera  with  high  speed 
silent  cheek  pawl  movement,  full  equipment 
including  single  system  sound,  with  condenser 
microphone,  cables,  trunks,  ready  to  use, 
$2250.00.  Picture  and  details  on  request. 
BASS  CAMERA  COMPANY 

179   W.   Madison   St.  Chicago,  111. 


LATEST    TYPE    FEARLESS  VELOCILATOR, 
like  new.  in  perfect  mechanical  condition. 
CAMERA  EQUIPMENT,  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 


FOR  SALE— NINE  HUNDRED  DOLLARS  FOR 
COMPLETE  AKELY  OUTFIT;  EXCELLENT 
CONDITION  :  SIX  LENSES,  FIVE  MAGA- 
ZINES. CARRYING  CASES,  TRIPOD.  Charle; 
W.  Herbert,  315  West  Lewis  St.,  Livingston. 
Montana. 


WANTED 


WE  PAY  CASH  FOR  YOUR  USED  CAMERA, 
LABORATORY     AND     STUDIO  EQUIPMENT. 

Write,  wire  or  cable 
MOTION    PICTURE    CAMERA    SUPPLY.  INC. 
723  Seventh  Avenue,  New  York  City 


WE  PAY  CASH  FOR  EVERYTHING  PHOTO- 
GRAPHIC. Write  us  today.  Hollywood  Camera 
Exchange.    1600   Cahuenga   Blvd.,  Hollywood. 


WANTED  TO  BUY  FOR  CASH 
CAMERAS  AND  ACCESSORIES 
MITCHELL,  B&H,  EYEMO,  DEBRIE.  AKELEY 
ALSO    LABORATORY    AND    CUTTING  ROOM 
EQUIPMENT 
CAMERA  EQUIPMENT.  INC. 
1600   BROADWAY,  NEW  YORK  CITY 
CABLE:  CINEQUIP 


CLASSIFIED  ADVERTISING 


To  present  bright  clear  pictures  with  the  minimum  of  effort,  choose  a  Da-Lite 
Glass-Beaded  Screen  and  the  convenient  Da-Lite  Projector  Stand  shown  here. 
The  screen  above  is  the  famous  Challenger  which  can  be  set  up  instantlv 
anywhere.  The  screen  and  the  projector  stand  are  adjustable  in  height  to 
permit  throwing  the  pictures  over  the  heads  of  the  audience. 


Wxuksa 

BRILLIANT  SUCCESS 

^IjoWi  ?{jDym  Tyiovk  ShowA! 

Give  your  movies  theater  quality  bril- 
liance by  projecting  them  on  a  Da-Lite 
Glass-Beaded  Screen!  Da-Lite's  advance 
process  of  applying  glass  beads  to  the 
screen  fabric  produces  light  reflective 
properties  unequalled  by  any  other 
method.  Pictures  are  brighter,  sharper, 
clearer;  yet  there  is  no  sparkling  or 
glare.  See  the  diff'erence  between  the 
Da-Lite  Glass-Beaded  surface  and  ordi- 
nary beaded  screens!  You  will  be 
amazed  at  the  greater  brilliance  of  the 
Da-Lite  Beaded  Screen — the  screen  with 
beads  guaranteed  not  to  shatter  off. 


Reg.  U.  S.  Pat.  Off. 


GLASS-BEADED  SCREENS 

Assure  professional  presentations.  Da-Lite 
makes  screens  with  Mat  While  and  Silver  sur- 
faces but  recommends  the  Glass-Beaded  sur- 
face as  the  most  efficient  for  averafje  projection 
requirements.  Write  for  literature  and  name 
of  the  nearest  dealer. 

DA-LITE  SCREEN  CO.,  INC. 

Manufacturers  of  Theatrical  and  !\  on-Professional 
Screens  with  All  Types  of  Surfaces  and  Mountings 

DEPT.  7-AC,  2723  N.  CRAWFORD  AVENUE,  CHICAGO,  ILLINOIS 


AMERICAN 
CINEMATOGRAPHER 

1938  International 
Amateur  Competition 

For  8mm  and  16mm  Subjects 

$500  in  Cash  Prizes 


GRAND  PRIZE     $200 

Photography    50 

Color  .■   50 

Scenario   50 

Home  Movie      50 

Scenic   50 

Documentary      50 


NO  ENTRANCE  FEE 
ORIGINAL  FILMS  ONLY— NO  DUPES 
NO  REDUCTION  FROM  35MM 

THE  RULES 

The  contest  is  world  wide  and  open  only  to  genuine  8mm  or  16mm 
amateurs  or  amateur  clubs. 

The  contest  ends  at  midnight  October  31.  1938.  Entries,  mailed 
or  expressed,  later  than  that  time  will  not  be  eliRible. 

Pictures  submitted  will  be  judKed  for  photography,  entertainment 
and/or  story  value,  direction,  acting,  cutting  and  composition. 

The  decision  of  the  judges,  among  whom  there  will  be  prominent 
cameramen,  will  be  final.  Announcement  of  the  awards  will  be  made 
as  soon  after  the  close  of  the  contest  as  possible  and  checks  sent  to 
the  winners.  ' 

Pictures  may  be  submitted  either  by  individual  amateur  movie  makers 
or  they  may  be  submitted  by  amateur  movie  clubs.  Each  entrant  must 
have  his  entry  or  entries  accompanied  by  a  sworn  statement,  the  blank 
for  which  will  be  forwarded  to  him  to  fill  in. 

Contestants  may  enter  as  many  subjects  as  they  desir^.  One  entry 
blank  will,  cover  all  subjects. 

The  American  Cinematographer  reserves  the  right  not  to  declare  a 
prize  for  any  classification  if  in  the  opinion  of  the  judges  there  is 
not  a  picture  submitted  sufficiently  good  to  be  classed  as  a  prize- 
winner. 

The  American  Cinematographer  retains  the  right  to  m^ke  duplicates 
of  such  prize-winning  pictures  as  it  may  indicate,  for  free  distribution 
to  clubs  and  amateur  organizations  throughout  the  worlds 

If  you  intend  to  enter  the  contest,  please  send  coupon  on  this  page 
for  official  entry  blank. 

NOTICE  TO  FOREIGN  ENTRIES 

Films  from  foreign  countries  will  be  admitted  to  the  United  States 
duty  free  if  the  pictures  are  made  on  American  made  stock.  If  this 
is  the  case,  this  fact  must  be  included  in  the  shipment,  also  the 
information  must  be  given  that  it  is  for  non-commercial  use.  If  the 
film  is  not  made  on  American  made  stock  duty  will  have  to  be  pre- 
paid by  the  sender  at  the  rate  of  $1  per  hundred  feet. 


AMERICAN  CINEMATOGRAPHER 
1782  No.  Orange  Drive 
Hollywood,  California 

Please  send  me  one  of  your  official  entry  blanks.  I  intend  to 
enter  a  (16mm  8mm)  picture  in  your  1938  contest.  I  understand 
my  entry  must  be  in  your  office  not  later  than  October  31,  1938. 

Name-  


Street. 


Address. 


To  Secure  the  Best  Results  In 
Motion  Pictures  it  must  be  Re- 
corded on  Mitchell  Equipment 


Mitchell  Sound 
Recorders  and 
Cameras  Fill 
The  Highest 
Requirements 


Mitchell  Camera  Corporation 

665    NORTH    ROBERTSON  BOULEVARD 
WEST    HOLLYWOOD,  CALIF. 


Cable  Address  "MITCAMCO" 

BELL  &  HOWELL  CO.,  LTD.,  London,  England 
CLAUD  C.  CARTER,  Sydney,  Australia 
D.  NAGASE  &  CO.,  LTD.,  Osaka,  Japan 


Phone  oxford  1051 

AGENCIES 

MOTION  PICTURE  CAMERA  SUPPLY,  INC.,  New  York  City 
BOMBAY  RADIO  CO.,  LTD.,  Bombay,  India 
H.  NASSIBIAN,  Cairo,  Egypt 


Of  course,  photographic 
quality  is  most  important.  But 
the  prompt  delivery  of  fresh 
film  and  the  rendering  of  co- 
operative technical  assistance 
in  its  use  are  also  worthwhile 
considerations. 

When  you  use  the  Du  Pont 
Cine  Products,  we  believe  you 
will  find  both  their  quality  and 
the  service  dependable. 


Du  Pont  Film  Manufacturing  Corporation 

INCORPORATED 

9  Rockefeller  Plaza  SMITH  &  ALLER,  LTD. 

New  York.  .  .  .  N.  Y.  6656  Santa  Monica  Blvd. 

Plant  .  .  Parlin,  N.  J.  Hollywood  .  .  .  California 


BETTER  THINQS  for  BETTER  LIVINQ  through  CHEMISTRY 


August,  1938 


American  Cinematographeb 


When  you  take  along  the  Bell  &  Howell 
Eyemo,  you  are  prepared  to  get  any  shot.  Al- 
ways the  "right  arm"  of  those  cameramen  who 
tever  know  what  the  next  shot  may  demand, 
^*ecent  improvements  have  made  the  Eyemo 
9ven  more  versatile.  Its  features  include: 


S.  M.  P.  E.  STANDARD  SOUND  aperture  plate 
and  matching-drum  type  variable  viewfinder 
on  every  Eyemo  except  the  lowest-priced 
model  .  .  .  permits  sound  to  be  added  to  film 
made  with  Eyemo,  using  standard  recording 
and  printing  equipment. 


fflO  STOPPING  TO  WIND  MOTOR:  Hand  crank 
on  every  model  in  addition  to  powerful  spring 
motor— complete  loading  of  film  can  be  shot 
without  interruption  for  winding.  Especially 
important  where  electricity  is  unavailable  for 
motor,  which  is  optional. 


INTERCHANGEABLE  MOTORS:  Precision 
machining  of  motor  mounts  makes  any  Eyemo 
motor  fit  any  Eyemo  camera.  You  can  pur- 
chase motor  at  any  time,  and  use  one  motor 
on  several   cameras.   Choice   of  universal, 
l2-volt,  or  synchronous  motors. 


PRECISE  SPEED,  QUICKER  PICKUP,  insured  by 
improved,  vibrationless,  high-speed  type  gover- 
nor, sealed  away  in  steel  from  dust  and  moisture. 

CHOICE  OF  TURRET  HEADS:  Compact  or  offset 
types,  each  mounting  three  lenses.  The  offset 
type  (illustrated)  allows  a  wider  choice  of 
lenses  and  the  incorporation  of  a  prismatic 
focusing  magnifier  aligned  level  with  the 
photographic  aperture. 


Other  features  contributing  to  the  standing  of 
Eyemo  at  the  top  of  its  field  are  described  fully  in 
literature  which  will  be  mailed  for  your  asking. 


BELL  &  HOWELL  COMPANY 

184  8    LARCHMONT   AVENUE,  CHICAGO 
New  York:  1 1  West  42d  Street  •  Hollywood:  716  North  La  Brea  Avenue  •  London:  14  Great  Castle  Street 

Estrblished  1907 


'BELL  &  H  O  W  E  L 1  . 


310     American  Cinematographer    •    August,  1938 


AMERICAN 
CINEMATOGRAPHER 


A  Technical  and  Educational  publication 
on  motion  picture  photoRraphy. 

Published  monthly  by  the 
AMERICAN  SOCIETY 
OP  CINEMATOCRAPHERS.  INC. 
1782  Niirth  OranBe  Drive 
Hollywood  (Los  Angeles),  California 

Telephone  GRanitc  2135 

VICTOR  MILNER,  President. 
FRED  W.  JACKMAN,  Treasurer. 


Vol.  19 


Augu.st,  1938 


No.  8 


Contents 


Here's  camera  club  in  real  home  311 

James  Wong  Howe  wins  honors  for  his 

photography    on    "Algiers"  312 

By  George  Blaisdell 

Dr.  Carter  outlines  history  of  search  for 

permanent  photograph   316 

By  Dr.  Robert  W.  Carter 

Process  Corporation  starts  business  in 
new  structure   318 

Finely  equipped  English  studios  are  all 

set  for  industrial  jump   319 

By  Elmer  C.  Richardson,  A.S.C. 

Restrictions  hedge  quints  when  they  are 

brought  before  camera   321 

By  Daniel  B.  Clark,  A.S.C. 

Camera  tells  story  of  precision  engineer- 
ing in  Art  Reeves  plant   322 

General    Electric    issuing    meter  with 
single  scale   327 


The  Front  Cover 


On  the  front  cover  will  be  found 
pictures  of  two  of  the  outstanding 
players  of  "Algiers,"  the  production 
declarea  by  the  Hollywood  corre- 
spondents in  the  Hollywood  Reporter 
poll  lo  be  the  outstanding  film  re- 
leased during  the  month  of  June. 
These  players  in  this  splendid  Walter 
Wanger  production  are  Charles  B'oyer 
and  Sigrid  Gurie. 

In  the  nine  months  this  magazine 
has  been  printing  on  its  front  cover 
a  scene  from  one  of  the  current 
month's  outstanding  pictures  each  of 
these  players  appears  two  times. 
Boyer  was  shown  last  December  with 
Garbo  in  a  scene  from  M.  G.  M.'s 
"Conquest"  and  Gurie  was  with 
Cooper  in  March  in  Goldwyn's  "Ad- 
ventures of  Marco  Polo." 

Two    members    of    the  American 


Society  of  Cinematographers  are  tied 
in  with  "Algiers."  Besides  awarding 
the  picture  the  honors  of  being  the 
best  production  the  correspondents 
also  voted  it  to  be  the  best  photo- 
graphed of  the  month — credit  for  that 
achievement  going  to  James  Wong 
Howe,  A.S.C. 

Lloyd  Knechtel,  A.S.C,  with  head- 
quarters in  London,  is  credited  with 
the  background  shots  of  the  Casbah 
section  of  Algiers — as  was  recorded 
in  these  columns  some  months  ago. 

The  photographic  difficulties  con- 
fronting Jimmy  Howe  in  his  shooting 
of  the  production  will  be  manifest  to 
those  camerawise  persons  who  may 
be  so  fortunate  as  to  look  upon 
"Algiers." 

For  the  still  photograph  we  are  in- 
debted to  Robert  Coburn. 


The  Staff 


EDITOR 
George  Blaisdell 

WASHINGTON 
STAFF  CORRESPONDENT 
Reed  N.  Haythorne,  A.  S.  C. 

TECHNICAL  EUITOB 
Emery  Huse.  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 
Victor  Milner,  A.  S.  0. 
James  Van  Trees,  A.  S.  C. 
Fred  W.  Jackman,  A.  S.  C. 
Farciot  Edouart,  A.  S.  C. 
Fred  Gage,  A.  S.  C. 
Dr.  J.  S.  Watson,  A.  S.  C. 
Dr.  L.  A.  Jones,  A.  S.  C. 
Dr.  C.  E.  K.  Mees,  A.  S.  C. 
Dr.  W.  B.  Rayton,  A.  S.  C. 
Dr.  Herbert  Meyer,  A.  S.  C. 
Dr.  V.  B.  Sease,  A.  S.  C. 

CIRCULATION  MANAGER 

L.  F.  Graham 

NEW  YORK  REPRESENTATIVE 

S.  R.  Cowan,  19  East  47th  St.,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 

Georges  Benoit,  100  Allee  Franklin, 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 

AUSTRALIAN  REPRESENTATIVE 

McGill's,  179  Elizabeth  Street,  Melbourne, 
Australian  and  New  Zealand  agents. 

Neither  the  American  Onematographer  nor 
the  American  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. This  magazine  will  not  be  respon- 
sible for  unsolicited  manuscripts. 


ESTABLISHED  1920.  Advertising  Rates  on  application.  Subscription:  United  States,  $2.50  a  year;  Canada  and  the  Pan-American  Union.  $2.50  a  year: 
Foreign,  $3.50  a  year.  Single  copies,  25  cents;  back  numbers,  30  cents;  foreign,  single  copies,  35  cents;  back  numbers,  40  cents.  COPYRIGHT  1938  by 
American  Society  of  Cinematographers,  Inc. 


Entered  aa  second  class  matter  November  18,  1937,  at  the  post  office  at  Los  Angeles,  California,  under  the  Act  of  March  3,  1879. 


August.  1938    •    American  Cinematographer  311 

Here Camera  Club  in  Real  Home 


BROWSING  around  the  United 
States  Navy's  town  of  San  Diego 
in  general  and  the  park  of  Balboa 
in  particular  before  as  well  as  on  or 
about  the  Fourth  of  July  it  was  a  pleas- 
ure to  spot  the  Photographic  Ai-ts  Build- 
ing of  Balboa  Park,  home  of  the  Photo- 
graphic Arts  Society  of  San  Diego.  Here 
is  a  structure  ideal  in  setting  for  a 
photographic  arts  group.  Here,  too,  is  a 
park  fortunate  to  be  sponsored  by  a 
municipality  of  such  public  spirit  as  to 
be  permitted  to  sanction  for  the  benefit 
of  the  public  of  a  public  building  for 
what  legally  is  a  private  body.  The  city 
gains  as  an  institution  and  so  does  the 
society — and  of  course  where  public 
showings  are  given  to  private  collections 
so  do  people,  too. 

When  the  big  exposition  was  organ- 
ized in  1915  the  Christian  Science 
Church  erected  the  pi'esent  structure. 
Later  it  became  necessary  for  the  church 
either  to  raze  the  building  and  restore 
the  landscape  or  surrender  the  struc- 
ture. It  elected  to  surrender,  with  the 
gratifying  result. 

For  the  month  of  July  there  was  an 
exhibition  of  photographs  fifty-three  in 
number  by  Helen  Thompson  Farrell 
sponsored  by  the  Photographic  Arts  So- 
ciety. It  is  open  to  the  public  Saturday 
and  Sunday  from  noon  to  4:30. 

• 

WESLEY  SMITH  of  Smith  and 
Aller,  representing  DuPont  film, 
left  Los  Angeles  July  13  for  a 
month  or  more  in  the  East  on  business 
bent.  But  not  all  of  his  attention  will 
be  given  to  sordid  matters  of  trade.  He 


By  GEORGE  BLAISDELL 


packed  an  Eastman  camera  of  the  cine 
kodak  16mm.  variety  and  a  wad  of  film 
that  would  choke  a  mule. 

But  this  DuPont  man  knew  35mm. 
professionally  before  16mm.  was  on  the 
map,  so  it  goes  without  saying  that  what 
he  brings  home  in  the  way  of  results  will 
bear  critical  examination  on  the  part  of 
those  who  claim  to  know  their  focuses 
and  their  angles. 

In  the  East  also  on  business  at  the 
same  time  were  Dr.  Herbert  Meyer  and 
C.  King  Charney  of  C.  King  Charney 
Inc.,  representing  Agfa  Films,  with  of- 
fices in  Hollywood  and  New  York. 
• 

IN  THE  last  issue  of  this  magazine 
inuch  attention  was  paid  to  Movie 
News,  official  organ  of  the  Australian 
Amateur  Cine  Society,  and  to  the  doings 
of  Australian  amateurs.  Just  after  the 
story  was  printed  we  received  a  letter 
from  James  A.  Sherlock  of  Sydney,  one 
of  the  foremost  of  the  Australian  ama- 
teurs, who  alluded  to  a  reference  pre- 
viously made  in  these  columns  to  the 
Movie  News. 

The  little  booklet  of  twelve  pages  and 
four  covers  is  self-supporting.  Five  hun- 
dred copies  are  printed,  which  are  dis- 
tributed among  trade  houses,  clubs  and 
members  in  Australia. 

"I  am  hard  at  work  on  a  film  showing 
the  first  150  years  of  the  history  of  the 
Australian  Nation,"  writes  the  amateur 
producer — or  perhaps  we  should  qualify 
the  description  by  making  it  the  ama- 
teur producer  with  a  professional's 
judgment.  "We  have  just  celebrated 
our  Sesqui-Centennial  Anniversary  (that 


means  we  are  150  years  old),  and  it  is 
not  the  celebrations  I  am  filming  but 
the  nation  builders  who  had  the  cour- 
age and  foresight  to  keep  Australia 
white. 

"I  have  found  that  the  history  of 
Australia  contains  a  very  interesting 
romance  of  modern  civilization.  That 
is  what  I  am  endeavoring  to  record  in 
my  film. 

"We  Australians  respect  the  culture, 
art  and  capacity  for  hard  work  of  our 
Asiatic  neighbors,  but  realize  the  re- 
sponsibility we  have  of  developing  a 
pure  Anglo-Saxon  race  in  this  conti- 
nent." 

Our  readers  heartily  will  agree  with 
us  that  this  amateur  cinematographer 
possesses  in  high  degree  the  pioneering 
vision  of  the  Anglo-Saxon — aye,  he  has 
even  more.  Not  only  has  he  the  vision. 
He  has  the  courage  and  the  ability  to 
translate  that  vision  into  accomplish- 
ment. 

The  Australian  Government  well  could 
afford  to  place  behind — it  is  beyond  un- 
derstanding why  it  does  not  so  do — 
James  A.  Sherlock  and  his  associates 
all  the  resources  necessary  to  translate 
to  a  major  screen,  a  professional  screen, 
this  cavalcade  of  a  continent  in  the 
magnitude  the  subject  deserves. 

And  on  the  other  side  of  the  world 
the  Imperial  Government  which  holds 
in  its  keeping  the  future  welfare  of  a 
large  part  of  the  race  that  claimed 
such  sons  as  Rudyard  Kipling  and  Cecil 
Rhodes  well  might  declare: 

"This  job  belongs  to  us!" 

• 

REPORTS  from  Buenos  Aires  give 
comments  on  Argentine  Sono 
Film's  "El  Ultimo  Encuentro" 
("The  Last  Encounter"),  photographed 
by  John  Alton,  A.S.C.  Cine  Argentina 
declares  "Star,  director  and  technician  a 
trio  of  success."  The  publication  says 
recognition  must  be  given  the  picture's 
real  photographic  merits,  especially  in 
the  close-ups  of  Amanda  Ladesma,  the 
star,  "whose  expressivity,  thanks  to  John 
Alton,  appears  emphasized  throughout 
the  production.  The  star  makes  no  secret 
of  the  fact  that  she  owes  her  success 
to  the  director  of  photography. 

"The.  technical  end  of  the  picture,  in 
charge  of  which  was  John  Alton,  de- 
serves praise.  Alton  already  is  known  for 
his  previous  work  here.  He  returns  to 
our  studios  with  more  experience  and 
proves  to  be  a  real  artist  of  the  light  in 
the  closeups  of  Amanda  Ledesma." 

Another  declares  "The  photography 
translates  into  praise  for  John  Alton, 
director  of  photography  of  real  merits." 

Still  another  digs  in  to  the  point  at 
the  start,  saying  "Photography  excel- 
lent." 


Photogrupliic  ArtH  Biiildijig,  Balboa  P(irk,  San  Diego,  home  of  the  I'hotog raphic 

Arts  Society  of  San  Diego 


312     American  Cinematographer    •    August,  1938 


James  JV mg  Howe  IVins  Honors 
for  His  Photography  on  'Algiers 


JAMES  WONG  HOWE,  A.S.C.,  son  of 
China's  Kwantung,  but  an  adopte<l 
son  of  Uncle  Sam's  West  Coast  since 
he  was  six  years  old,  was  awarded  the 
photographic  honors  in  the  Hollywood 
Reporter's  poll  for  June  releases.  The 
awarding;-  authorities,  according  to  recent 
custom,  were  the  local,  national  and  in- 
ternational correspondents  stationed  in 
Hollywood. 

The  subject  on  which  the  correspond- 
ents bestowed  their  approving  nod  wa.s 
Walter  Wanger's  stirring  tale  of  "Al- 
giers," drawn  from  "Pepe  le  Moko," 
French  production  which  in  turn  was 
adapted  from  the  novel  by  Detective 
Ashelbe. 

The  balloting  once  again  was  marked 
by  the  tendency  of  the  correspondents  to 
bracket  their  decision  on  "best  photog- 
raphy" and  "best  production."  For  jupt 
exactly  that  was  what  they  did  with 
"Algiers."  They  did  more  than  declare 
their  belief  the  subject  was  the  best  of 
the  month. 

Also  they  voted  that  the  best  acting 
performance  of  the  month  was  contrib- 
uted by  Charles  Boyer,  the  player  who 
with  such  unerring  skill  and  finely  bal- 
anced judgment  interpreted  the  part  of 
the  well-to-do  thief  trapped  within  the 
boundaries  of  the  Casbah,  native  quarter 
of  the  French  territorial  city — safe  from 
restraint  so  long  as  he  remained  within 
the  borders  but  practically  certain  of 
arrest  as  soon  as  he  stepped  outside  it. 

Four  Firsts 

Gene  Lockhart,  in  the  part  of  the  In- 
former, was  the  fourth  award  given  on 
"Algiers,"  his  bouquet  being  for  the  besrt 
supporting  actor  performance.  Second 
behind  him  was  Joseph  Calleia,  who  so 
fascinatingly  played  the  Inspector  of 
Police  whose  integrity  as  a  policeman 
was  not  less  keen  than  his  regard  for  the 
thief. 

Danielle  Darrieux  for  the  best  actress 
performance  in  "Rage  of  Paris"  was 
given  69  percent  of  the  total  number  of 
votes  cast.  Jimmy  Howe  by  reason  of 
the  favoring  preponderance  of  votes  in 
his  classification  was  runner-up  in  the 
"no  competition"  class. 

Those  who  have  seen  the  picture  will 
understand  its  photographer  had  no  pic- 
nic, no  walkover.  A  glance  at  the  floor 
map  of  the  Casbah  set,  shown  on  the 
opposite  page,  will  convey  to  the  camera- 
wise  the  assurance  that  here  was  no 
gilded  palace  with  spacious  halls,  with 
high  ceilings  and  wide-spreading  rooms. 

Rather  was  it  an  intricate  arrange- 
ment of  streets  and  halls  and  rooms,  of 
alleyways  and  near  tunnels.  The  widest 


By  GEORGE  BLAISDELL 

street  was  twelve  feet.  The  average,  in 
width,  was  nearer  four  or  five  feet.  From 
stage  floor  to  an  elevation  sixteen  feet 
higher  there  was  a  maze  of  terraces  and 
stairways.  The  very  nature  of  the  ground 
over  which  the  camera  was  obliged  to 
travel  made  dolly  shots  in  the  accepted 
meaning  of  the  term  something  out  of 
the  question. 

Consequently  there  was  built  a  mono- 
rail system  capable  of  supporting  a  cam- 
era carriage  and  an  operator  and  crew. 
The  cameraman  estimated  the  extent  of 
the  system  to  be  somewhere  between 
1500  and  2000  feet  in  length.  It  was  so 
constructed  the  camera  could  be  moved 
down  a  main  street  or  diverted  at  inter- 
sections without  in  any  manner  interfer- 
ing with  the  flow  or  rhythm  of  the 
camera  movement. 

By  reason  of  the  monorail  being  '"n 
the  centre  of  the  "fairway"  it  made  pos- 


James  Wong  Hoice 


sible  the  lighting  of  both  sides.  Then 
inasmuch  as  the  camera  turned  on  a 
pivot,  could  "turn  on  a  dime,"  so  to 
speak,  it  made  possible  the  reaching  of 
any  visible  objective  by  the  lens. 

Drawings  and  plans  of  all  settings 
called  for  by  the  story  were  prepared  by 
Art  Director  Alexander  Toluboff  and 
his  staff.  Toluboff  was  aided  in  his  prep- 
aration of  the  drawings  and  set  models 
by  the  fact  that  he  had  spent  some  time 
in  Algiers  several  years  ago,  studying 
the  architecture  of  the  city's  buildings. 


Each  setting  was  made  the  subject  of  an 
elaborate  blueprint,  since  even  the  most 
unimposing  ".set"  must  be  constructed  as 
carefully  and  as  accurately  as  a  resi- 
dence or  other  building.  Later  triangu- 
lar camera  angles  were  added  to  the 
blueprints. 

A  total  of  48  sets  was  required  for 
"Algiers,"  by  far  the  largest  being  an 
accurate  replica  of  an  extensive  section 
of  the  Casbah,  where  8.5  percent  of  the 
play's  action  takes  place.  This  remark- 
able set  was  a  three-level  labyrinth  of 
hilly,  cobbled  streets  and  narrow  pas- 
sageways, with  stairways  leading  to  the 
flat  rooftops  and  dozens  of  picturesque 
bazaars  jutting  into  the  roadways.  So 
steep  were  the  grades  in  this  setting  that 
the  street  level  rose  a  total  of  62  feet 
within  its  area  and  the  hordes  of  people 
which  later  were  to  throng  the  tortuous 
passages  made  necessary  an  absolutely 
rigid  construction. 

As  each  set  was  completed,  the  crews 
of  Guy  Gillman,  head  of  the  Wanger 
electrical  department,  surmounted  it 
with  platforms  swung  from  the  rafters 
of  the  vast  sound  stage,  and  on  these 
catwalks  were  secured  the  banks  of 
enormous  studio  lights  necessarj*  for 
illumination.  Electrical  current  used  on 
the  Cashbah  set  alone  cost  thousands  of 
dollars  and  was  sufficient  to  light  a  pop- 
ulous city. 

Matching  Backgrounds 

One  of  the  difficult  problems  was  the 
lighting  of  sets,  of  streets,  so  as  to  make 
them  look  real.  This  was  accomplished 
by  overhead  lighting  employing  soft  re- 
flector lights,  the  same  as  in  the  sunlight 
on  location.  "We  were  matching  the 
authentic  African  sunlight  shots  that  had 
been  sent  to  us  by  Lloyd  Knechtel,  my 
fellow  A.S.C.  man,"  said  the  cameraman. 

"To  achieve  this  we  knew  it  would  be 
necessary  to  employ  one  apparent  source. 
Simulating  sunlight  over  a  considerable 
area  was  possible  with  arc  lamps.  It  was 
necessary,  of  course,  in  matching  light 
intensity  and  using  many  lamps  at  no 
time  to  cast  more  than  one  shadow,  be- 
cause Old  Sol  is  very  particular  about 
that  little  thing  when  on  the  job  himself. 

"Outdoors  in  Africa  Old  Sol  casts  one 
shadow.  Indoors  in  Hollywood  don't  try 
to  represent  him  as  casting  plural 
shadows." 

Then  again  in  the  shots  touched  by 
sunlight  it  was  imperative  to  maintain 
the  atmosphere  of  humidity,  of  matching 
the  deep  haze  in  the  backgrounds,  the 
cameraman  continued.  To  accomplish  this 
end  resin  was  burned  on  the  studio  floor. 
This  gave  forth  a  dry  atmospheric  haze, 


August,  1938    •    American  Cinematographer  313 


314     American  Cinematographer    •    August,  1938 


more  in  keeping  with  the  examples  that 
had  come  from  Africa. 

Usually  employed  is  mineral  oil,  but 
that  gives  out  a  reflective  surface,  a 
shiny  one.  In  this  case  it  was  necessary 
to  get  the  heat  of  the  desert,  of  crowded 
streets,  of  pavements  on  a  hot  day. 

The  resin  delivered  what  it  had  been 
asked  for.  To  certify  to  that  effect  were 
prepared  the  electricians,  perched  up 
among  the  rafters,  where  without  delay 
ascends  all  the  spare  heat.  Speaking  not 
altogether  loosely,  they  pretty  nearly 
smothered. 

The  actors,  too,  while  most  uncomfort- 
able, unconsciously  "felt"  the  atmos- 
phere. They  really  were  in  Algiers.  They 
needed  no  instructions  from  the  directing 
staff  to  be  aware  of  it. 

Praises  Cromwell 

The  photographer  of  "Algiers"  paid  hir, 
respects  to  Director  John  Cromwell  as 
one  who  really  understands  the  mechanics 
of  the  camera. 

"It  is  a  gift  not  unanimously  enjoyed 
by  all  directors,"  said  the  cameraman, 
"that  is,  according  to  my  observation. 
To  really  know  when  to  move  the  camera 
and  when  not  to  move  it  constitutes  one 
of  the  major  attributes  of  a  director.  In 
the  same  category  I  also  would  include 
William  K.  Howard,  William  Dieterle, 
W.  S.  Van  Dyke  and  Fritz  Lang. 

"I  consider  it  to  have  been  a  privilege 
to  have  worked  with  Mr.  Cromwell.  He  is 
a  great  director  and  possesses  a  keen 
understanding  of  the  motion  picture  and 
its  mechanics — in  his  use  of  these  latter 


in  making  them  tell  the  story  of  the 
former. 

"More  truly  of  'Algiers'  than  of  any 
picture  I  have  known  may  it  be  referred 
to  as  a  'motion  picture.'  Probably  85  per- 
cent of  the  scenes  were  made  with  the 
camera  in  motion.  The  dialogue  was  not 
that  of  persons  standing  still.  The  camera 
was  in  motion,  and  so  moving  that  you 
never  became  conscious  that  such  was 
the  fact." 

The  cinematographer  said  it  was  his 
conception  of  the  ideal  that  the  person 
out  front  should  be  under  the  illusion  of 
a  moving  situation,  conscious  only  he 
is  looking  on  mounting  action,  relent- 
lessly progressive,  its  grim  fate  inescap- 
able, and  motivated  in  such  manner  the 
observer  does  not  sense  how  it  is  obtained 
but  very  much  does  feel  its  influence. 

Unconsciously  the  speaker  turned  back 
several  leaves  in  his  book  in  almost  his 
next  sentence  when  he  referred  to  the 
importance  of  timing — his  unconscious 
allusion  to  an  occupation  with  which  as  a 
very  young  man  he  had  for  a  short  time 
been  somewhat  well  acquainted. 

Timing's  Importance 

"Timing  is  one  of  the  most  important 
things  in  camera  work,"  he  declared.  "A 
prizefighter  times  his  punches,  a  runner 
times  his  pace,  actors  and  actresses  time 
their  action  and  speech,  the  great  story 
teller  times  his  climax,  the  director  times 
his  scenes  and  the  cameraman  times  th<i 
movement  of  his  camera." 

It  was  not  difficult  in  following  the  talk 
of  the  cameraman — and  he  was  speaking 


freely,  without  the  reserve  that  usually 
is  accredited  to  him — to  discern  that  un- 
consciously he  was  endowing  his  camera 
with  his  own  attributes. 

"It  is  imperative  for  the  camera  tx) 
move  along  with  the  story  just  as  if  it 
were  a  human  being,"  he  went  on.  "It 
must  follow  a  rhythmical  pace,  fast  or 
slow  or  medium  as  may  be  indicated  by 
the  cast.  But  it  must  always  be  just  on 
the  spot,  not  ahead  of  or  behind  where 
it  should  be — it  must  be  controlled  by 
the  timing  instinct." 

The  speaker  brought  up  the  importance 
of  one  of  the  more  humble  members  of 
the  camera  crew  in  the  making  of  a  pic- 
ture— the  grip,  that  all-around  general 
utility  man  who  moves  the  camera  car- 
riage when  it  is  in  action. 

"It  is  a  difficult  thing  to  teach  these 
men  just  how  to  control  a  camera  move- 
ment unless  they  have  within  them  that 
sense  of  tempo.  Really  it  is  a  gift. 
Honor  to  Grip 

"Many  may  not  understand  the  re- 
sponsibility of  every  member  of  a  camera 
crew  when  the  camera  is  in  action  in  an 
important  and  impressive  scene.  Each 
one  has  his  own  part  to  play,  like  each 
member  of  an  orchestra.  Those  on  the 
crew  who  have  the  'feel'  can  make  that 
camera  perform,  fast  or  slow;  can  make 
it  slide,  in  rhythm,  like  in  a  waltz. 

"Personally  in  my  share  of  the  mak- 
ing of  'Algiers'  I  was  most  fortunate  in 
having  the  assistance  as  grip  of  one  of 
the  most  outstanding  in  that  capacity  of 
any  one  I  have  known.  In  21  years  in 


Two  of  the  Cnsbah  nets  imed  in  Walter  Wanger's  "Algiers" 


August,  1938    •    American  Cinematographer  315 


Because  of  cobblestones  and  terraced 
streets  James  Wong  Hoive,  A.S.C.,  and 
his  crew  could  not  push  their  cameras 
along  the  narrow  winding  roads  of  the 
historic  Casbah  section  in  filming  Walter 
Wanger's  "Algiers,"  starring  Charles 
Boyer,  and  so  an  overhanging  camera 
trolley  car  was  created.  Here  is  Director 
John  Cromwell  and  Howe  with  Boyer  and 
Hedy  Lamarr  imposed  in  the  foreground 
and  Sigrid  Gurie  in  a  grand  stand  seat 
watching  the  colorful  action  of  the  yiative 
quarter  as  she  rides  on  the  susperided 
camera  trolley. 


this  business  I  have  never  seen  his  name 
exploited  in  the  previews,  but  I  am  sure 
he  has  contributed  materially  to  the 
making  of  many  excellent  pictures.  I  am 
talking  of  Buz  Gibson,  a  Wanger  em- 
ployee." 

The  speaker  praised  the  cooperation  of 
his  operative  cameraman,  Arthur  Arling, 
whose  adherence  to  the  plans  adopted  in 
rehearsal  had  been  100  percent  and 
whose  keenness  in  action  had  helped  in  a 
major  way  in  the  general  result. 

Jimmy  Howe  was  looking  out  acros.-i 
the  widespreading  lawn  in  front  of  the 
A.S.C.  home.  He  was  speaking  in  th-.^ 
manner  of  a  man  thinking  out  loud. 

"A  camera  is  a  piece  of  very  delicate 
and  sensitive  high  precision  machinery," 
he  was  saying.  "It  is  loaded  with  film 
and  it  has  but  one  eye.  It  can't  talk 
back — if  it  only  could — it  is  most  exact 
in  doing  just  that  which  it  is  told.  It  will 
create  what  you  ask  it  whether  your  in- 
structions be  intelligent  or  otherwise. 

"Always  what  it  accomplishes  is  en- 
tirely up  to  the  director  and  the  camera- 
man." 

Whipped  Major  Handicaps 

Jimmy  Howe  has  accomplished  much 
under  what  many  men  would  have  con- 
sidered a  major  handicap.  He  was 
brought  to  the  United  States  by  his 
father  with  other  members  of  his  family. 
The  father  had  preceded  his  brood  and 
returned  for  it  after  having  established 
himself. 

It  was  in  Pasco,  Washington,  the  lad 
went  to  school,  in  spite  of  the  fact  he 
knew  no  English.  He  was  the  only  Chi- 
nese lad  in  the  school.  What  at  first  he 
thought  of  the  American  pupils  an<l 
what  they  thought  of  him  seemed  to  be 
more  or  less  mutual,  as  Jimmy  tells  the 
story  today.  But  they  got  along. 

Later  Jimmy  was  accepted  as  one  of 
themselves  by  the  boys  on  the  other  side 
of  the  tracks.  Then  his  father  accepted 
the  offer  of  a  friend  in  Ferndale,  Oregon, 
to  take  the  lad  home  with  him  to  go 
to  school  there  and  to  work  on  the  farm. 

When  Jimmy's  father  passed  away  the 
lad  went  to  Walla  Walla  to  live  with  a 
friend  with  an  athletic  bent.  Before  long 
the  youngster  was  wearing  the  gloves. 
He  made  progress  in  fighting  and  in  the 
making  of  money,  but  his  mother  pro- 
tested, holding  up  to  the  lad  the  memo»-y 
of  his  father,  and  the  young  prize- 
fighter gradually  relinquished  his  inter- 
est in  the  gloves.  He  had  won  some  good 


battles  and  was  making  a  name  as  a 
pugilist. 

His  first  work  in  a  studio  was  at  Para- 
mount as  an  assistant  to  Alvin  WyckofF 
at  the  rate  prevailing  in  those  days  of 
SIO  a  week.  He  bought  a  still  camera 
in  a  pawn  shop.  With  it  he  made  pictures 
of  Mary  Miles  Minter,  which  so  pleased 
the  young  actress  she  suggested  he  be 
allowed  to  shoot  first  camera. 

Becomes  Cameraman 

At  the  end  of  three  years  as  an  assist- 
ant he  was  accordingly  installed  as  a 
first  cameraman  at  a  salary  of  $50  a 
week. 

After  se\eral  years  with  Paramount 
he  moved  to  MGM.  Following  a  success- 
ful stay  there  he  decided  to  take  a  vaca 
tion  in  the  form  of  a  trip  to  China.  He 
was  eight  months  away  and  returned  to 
Hollywood  to  discover  sound  had  entered 
during  his  absence. 

For  a  long  time  he  was  without  em- 
ployment, for  that  is  the  way  in  Holly- 
wood. His  fortune  had  evaporated,  but  he 


did  not  let  go  of  his  intense  interest  in 
matters  with  which  he  was  concerned.  He 
studied  and  kept  abreast  of  things  that 
were  new. 

His  fortune  turned  as  his  money 
dwindled.  His  first  picture  was  the  re- 
opening wedge,  and  his  success  has  been 
continuous  ever  since.  One  of  the  recent 
pictures  he  has  photographed  is  "The 
Adventures  of  Tom  Sawyer,"  one  of  the 
four  credited  with  the  beginning  of  the 
surge  to  color. 

His  success  in  the  making  of  "Algiers" 
is  no  surprise  to  those  who  know  his 
manner  of  working — his  thoroughness, 
his  striving  for  realism,  his  sincerity — 
in  plain  English,  his  honesty  in  his  effort 
to  translate  to  the  screen  life  as  it  is 
lived. 

It  may  be  a  part  of  this  story  to  re- 
mark in  conclusion  that  since  Jimmy 
Howe  completed  photographing  "Al- 
giers" he  has  been  signed  by  Warner 
Brothers  on  a  two-year  contract.  The 
first  production  under  that  agreement  is 
Kay  Francis  in  "The  Curtain  Call." 


316     American  Cinematographer    •    August,  1938 


Dr,  Carter  Outlines  History  of 
Search  for  Permanent  Photograph 


By  DR.  ROBERT  W.  CARTER 

of  the  Taylor-Slodric  Coriwriitiori  of  New  York 
Part  II 


FINISHED  images  were  thoroughly 
tested  for  light,  heat,  moisture, 
abrasion,  acids  and  alkalines.  From 
the  years  1915  to  1924  a  great  deal  of 
time  and  expense  were  used  in  develop- 
ing apparatus  for  the  making  of  perma- 
nent photographs  on  metal  in  commer- 
cial quantities. 

February  8,  1924,  we  submitted  our 
photographs  on  metal  to  the  physics  de- 
partments of  the  leading  universities, 
one  of  which  at  that  time  was  headed 
by  the  celebrated  Dr.  J.  C.  McLennan. 
Dr.  Silberstein  of  the  Eastman  Kodak 
Company  was  present  at  the  series  of 
tests  that  were  made  with  X-ray,  using 
45,000  volts  and  10  milliamperes. 

Dr.  McLennan  used  every  method 
known  to  science  to  bring  about  the 
fading  or  discoloration  of  the  image, 
and  after  the  tests  declared  that  as  far 
as  any  known  method  was  concerned 
the  prints  were  permanent. 

Praise  Images'  Beauty 

We  should  say  at  this  time  that  the 
photographic  world,  including  art  crit- 
ics both  in  America  and  abroad,  was 
unanimous  in  its  praise  of  the  beauty 
of  the  photographic  images  on  metal. 
Rector  Charlesworth  in  one  of  the  lead- 
ing journals  stated: 


"The  photographs  by  this  process  have 
an  appearance  of  beauty  and  richness 
that  cannot  be  obtained  on  paper.  The 
dark,  lustrous  image  stands  out  from 
a  background  of  silvery,  satin-finished 
metal  and  produces  an  effect  of  rare 
beauty  and  distinction." 

We  raise  this  point  because  the  beauty 
of  the  daguerreotype  print  was  equaled, 
if  not  surpassed,  by  this  modern  process. 

The  process  was  then  sold  to  Euro- 
pean interests  and  operated  in  a  com- 
mercial way.  Those  of  you  who  are 
interested  in  further  information  about 
this  phase  of  development  may  be  re- 
ferred to  the  British  Journal  of  Pho- 
tography of  April  12,  1929. 

In  that  issue  Dr.  Brown,  the  editor, 
gives  a  detailed  account  of  his  visit 
to  the  plant  where  permanent  photo- 
graphs were  being  produced  on  metal 
in  commercial  quantities.  Dr.  Brown 
gives  it  as  his  opinion  that  this  photo- 
graphic process  on  metal  marked  a  de- 
velopment of  widespread  commercial 
and  artistic  possibilities.  We  completed 
our  research  on  the  development  of 
color  images  in  the  year  1931. 

Making  Records  Permanent 

It  was  during  the  year  1929  that  we 
were  consulted  by  the  Vatican  Library 


on  the  advisability  of  the  reproduction 
of  manuscripts  and  codices  of  the  early 
centuries.  These  priceless  writings  were 
on  vellum  and  sheepskin.  We  had  al- 
ready reproduced  the  writings  of  Victor 
Hugo  on  thin  sheets  of  metal. 

The  possibility  of  using  metal  film  and 
projecting  the  same  in  the  form  of  mov- 
ing pictures  became  a  definite  possibility. 
In  short,  the  whole  subject  of  the  per- 
manent record  of  letters,  books,  manu- 
scripts, etc.,  became  a  paramount  con- 
sideration. 

We  had  made  photographic  images  on 
metal  as  thin  as  .004  of  an  inch  as  far 
back  as  the  year  1914.  The  problems  to 
be  solved  were  physical,  mechanical, 
and  chemical.  First  in  order  to  get  a 
strip  of  film  on  metal  that  would  pass 
through  a  projection  machine,  it  had 
to  have  properties  we  had  not  consid- 
ered in  ordinary  photographic  prints. 

To  pass  through  the  sprockets  in  any 
projection  machine  the  sides  of  the  film 
had  to  be  pierced,  and  the  metal  strip 
during  its  passage  through  the  ma- 
chine had  to  be  flexed  and  passed 
through  a  severe  tension,  together  with 
high  temperature.  We  also  found  that 
the  formulae  and  technique  that  were 
suitable  for  making  first-class  prints  on 


No.  2 


August,  1938    •    American  Cinematographer  317 


flat  sheets  of  metal  were  useless  for 
making  photographic  images  on  con- 
tinuous strips  of  metal. 

By  varying  two  of  the  metals  in  our 
original  alloy  we  were  able  to  get  a 
metal  film  base  with  a  high  reflective 
index  and  with  suited  tensile  strength 
that  stood  the  stamping  and  the  strain 
of  the  projection  machine  indefinitely. 

The  change  from  flat  sheet  to  strip 
also  involved  new  chemical  and  mechan- 
ical tests.  These  wei'e  overcome  one  by 
one,  and  in  1932  we  had  a  metal  film 
that  would  give  an  image  suited  to  mo- 
tion pictures. 

Unaffected  by  700  Runs 

The  high  light  gave  a  reflection  as 
efficient  as  93  per  cent  with  standard 
optical  system  and  25  ampere  arc  light. 
In  our  mechanical  tests  we  ran  the  metal 
film  constantly  700  times  through  the 
sprockets,  and,  on  critical  examination, 
we  found  the  film  unaff^ected  by  the  heat 
and  mechanical  strain. 

It  should  be  remembered  that  a  thou- 
sand feet  of  cellulose  film  weighs  slight- 
ly more  than  a  thousand  feet  of  this 
strip.  To  those  interested  we  might  also 
say  that  the  basic  cost  of  our  uncoated 
metal  against  that  of  cellulose  film  is 
less  than  half.  This  does  not  mean  that 
the  final  price  to  the  consunier  will  be 
less  than  that  of  cellulose  film  but  that 
the  consumer  is  getting  a  film  that  will 
give  him  greater  service,  combined  with 
positive  permanence. 

For  a  large  class  of  work  the  images 
may  be  used  on  both  sides,  thus  giving 
the  consumer  considerable  saving  in 
time,  money,  and  space.  Metal  film  may 
be  made  in  16mm  or  35mm  or  any  prac- 
tical widths. 

Projection  from  Metal 

We  now  come  to  the  most  controversial 
part  of  our  paper,  the  projection  of  the 
photographic  image  from  metal.  We 
find  on  investigation  that  as  far  back 
as  the  year  1918  projecting  apparatus 
was  built  for  reflecting  images  from 
opaque  surfaces. 

We  also  find  that  in  the  patent  office 
in  France  and  Gennany  there  are  many 
patents  giving  methods  of  making  mov- 
ing picture  film  on  metal.  These  patents 
largely  belong  to  an  era  when  motion 
pictures  were  just  coming  into  vogue. 

The  question  naturally  arises,  if  metal 
had  any  advantages  as  a  motion  picture 
film,  why  was  it  not  developed,  and  why 
is  it  not  in  commercial  use  at  the  present 
time?  We  have  investigated  in  Ger- 
many and  France  and  all  over  the  civil- 
ized world  and  cannot  find  any  company 
engaged  in  the  pi'oduction  of  motion  pic- 
ture film  on  metal.  We  cannot  give  a 
complete  answer  to  the  seemingly  un- 
answerable question,  but  we  can  give 
two  basic  developments  in  our  research 
that  will  largely  satisfy  the  mind  on 
this  point. 

First,  the  films  on  metal  described  by 
previous  workers  usually  mention  steel 
as  the  base,  in  some  cases  silver,  and  in 
some    isolated    cases,    aluminum.  Our 


No.  3 


investigation  proves  that  steel  is  not 
a  proper  medium  for  a  moving  picture 
film.  Ordinary  carbon  steels  crystallize 
in  their  passage  through  the  sprocket 
and  the  heat  of  the  projection  machine. 

They  are  not  compatible  with  photo- 
graphic emulsions  and  developers.  Stain- 
less steel,  on  the  other  hand,  is  much  too 
high  in  price  and  is  difficult  to  keep 
from  buckling  and  causing  distortion 
with  sound  reproduction.  We  will  not 
consider  other  metals  because,  for  one 
reason  or  another,  they  have  been  elimi- 
nated. 

Economical  and  Light 

The  alloy  we  have  evolved  is  econom- 
ical in  price;  it  is  light  in  weight;  and 
it  is  aff"ected  by  the  photographic  emul- 
sions or  chemicals;  and  it  has  the  chief 
quality  absent  from  the  metals  experi- 
mented with  by  previous  workers. 

Our  alloy  has  physical,  mechanical, 
and  chemical  properties  that  yield  a 
flawless,  close-grained,  flexible  surface. 
This  surface  by  modern  polishing  proc- 
ess yields  a  reflective  index  of  92  per 
cent.  It  is  this  high  reflectivity,  com- 
bined with  unusual  flexural  strength 
unknown  to  early  experimenters,  that 
gives  part  of  the  answer  to  the  question 
under  consideration. 

The  second  fact  overlooked  by  the 
early  workers  was  faulty  optical  system. 
We  have  all  examined  the  principle  of 
episcopic  projection ;  we  are  all  acquaint- 
ed with  the  Bell  optical  system  and 
the  other  simple  devices  for  pi-ojecting 
postcards  and  other  objects  with  opaque 
surfaces. 

Going  a  little  further  into  this  field, 
we  find  various  engineers  trying  to  get 
greater  illumination  by  doubling  the  in- 
tensity of  the  light,  using  more  power- 
ful condensers,  and  other  methods  to 
illuminate  the  film  to  get  a  properly 
lighted  image  on  the  screen.  We  find, 
however,  that  they  all  worked  on  the 
principle  shown  on  our  slide,  and  all 
failed  for  the  same  reason. 

Efficient  Optical  System 
You  will  notice  that  this  slide  gives 
a  drawing  of  a  very  efficient  optical  sys- 
tem based  on  a  diffused  light.  You  will 
notice  that  in  figure  G  we  have  a  highly 
polished  parabolic  mirror.  Figure  F  is 
two  powerful  arc  lights,  using  say,  25 
amperes.  This  sends  an  intense  ray  of 
light  through  the  condensers  marked  E. 

This  is  then  concentrated  on  the  film 
in  the  slide  marked  A.  Both  lamps  on 
the  left  and  the  right  side  of  the  ma- 
chine are  sending  light  directly  through 


the  condenser  to  the  film.  The  light  I'ay 
then  passes  out  through  the  objective 
lense  C  to  the  projection  screen  W. 

This  system  is  the  most  effective  of 
this  type  that  we  have  been  able  to  dis- 
cover. In  spite,  however,  of  high  pow- 
ered lamps,  the  best  of  condensers,  and 
the  correct  angle  of  incidence,  the  image 
on  the  screen  was  not  up  to  modern 
standards  in  motion  picture.  Anyone  in 
the  audience  who  has  acquaintance  with 
the  general  laws  of  geometrical  optics 
will  recog-nize  why  the  image  on  the 
screen  by  this  optical  system  was  not 
satisfactory. 

The  rays  of  light  passing  from  the 
high-powered  lamps  through  the  con- 
denser to  the  film  were  diffused  when 
they  impinged  on  the  reflecting  surface 
of  the  metal.  Measurement  of  the  light 
before  reaching  the  film  and  after  reach- 
ing the  film  would  show  a  probable  de- 
crease of  30  per  cent.  These  are  the 
two  basic  reasons  why  metal  film  has 
failed  to  meet  the  exacting  standards  of 
modern  projection. 

Light  Loss  of  but  7  Percent 

We  will  show  two  more  diagrams  that 
will  illustrate  an  optical  system  that 
gives  a  reflection  of  light  without  los- 
ing more  than  7  percent  in  transmis- 
sion. If  you  examine  the  diagram  crit- 
ically, you  will  see  that  our  source  of 
light  is  marked  with  the  number  1.  The 
figure  number  2  is  a  highly  polished, 
concave  mirror.  This  reflects  the  light 
through  a  properly  constructed  con- 
denser, or  lense,  directly  on  to  the  highly 
reflective  surface  of  the  metal  film  in 
figure  D. 

It  must  be  observed  here  that  the 
angle  of  incidence  and  the  angle  of  re- 
flection are  of  equal  value.  We  are  not 
diffusing  light  now,  but  we  are  re- 
flecting light  in  a  directional  manner. 
The  image  is  reflected  now  fi'om  the 
member  D  to  a  highly  polished  mirror 
which  is  on  a  25  degree  angle  from  the 
image  carrier. 

The  mirror  reflects  the  light  again  at 
a  25  degree  angle  out  through  the  ob- 
jective lense  to  the  screen.  You  will  ob- 
serve that  in  this  optical  system  we  have 
used  only  one  mirror  of  reflection,  and 
we  have  reflected  all  the  light  rays  in 
a  directional  manner.  This  has  eliminat- 
ed diffusion  completely.  In  diagram 
number  2  we  illustrate  this  principle 
and  an  optical  system  which  may  be 
used  for  projecting  long  distances  and 
giving  large  images. 

The  principle  on  this  diagram  is  the 


318     American  Cinematographer    •    August,  1938 


Gregg  Tolaud,  A.S.C.,  sits  at  camera  mounted  on  hydraulic  tripod,  one  of  the  latest 
conveniences  to  be  installed  at  the  Samuel  Goldivyn  Studio.  A  great  advantage  of 
the  innovation  is  the  ability  to  combine  in  one  tripod  the  range  formerly  achieved 
only  with  regulation  and  low  equipment ;  in  other  ivords,  it  avoids  shifting  the  cam- 
era from  one  to  thr  other.  Witli  its  possible  eleratinn  of  the  lens  level  to  11  feet 
6  inches  from  the  floor  it  docs  away  ivith  much  changing  to  parallels.  The  founda- 
tion for  the  innovation  is  a  Mole-Richardson  tripod  with  the  hydraulic  apparatus 
applied  by  a  company  specializing  in  that  work.  The  cameraman  shown  in  the 
picture,  for  fourteen  years  a  fixture  to  the  Goldwyn  siudio,  is  enthusiastic  over  the 
hydraulic  appliance.  In  furtherance  of  the  principle  Goldwyn  is  having  prepared, 
for  studio  use  a  hydraulic  parallel,  the  first  of  which  will  have  a  patform  maximum 

ttventy  feet. 


same  as  that  of  diagram  number  1.  We 
are  reflecting  light  in  a  directional  man- 
ner and  so  dispose  the  elements  that  the 
light  rays  fall  at  an  angle  of  less  than 
25  degrees  on  the  photographic  image. 
This  image  substantially  reflects  all  the 
light  rays  that  fall  upon  it.  There  rays 
are  reflected  by  the  mirror  at  the  same 
small  angle. 

The  angle  of  incidence  and  the  angle 
of  reflection  of  the  rays  reaching  the 
mirror  are  of  equal  value,  and  the  loss 
of  intensity  of  light  is  thus  reduced  to 
a  minimum.  We  find  in  actual  projec- 
tion that  by  arranging  our  optical  sys- 
tem to  convey  light  in  this  directional 
manner  we  get  a  value  up  to  92  per  cent 
at  the  screen. 

Metal  Film  Advantages 

In  conclusion,  the  metal  film  developed 
by  the  Carter  processes  has  all  the  es- 
sentials for  widespread  commercial  use. 

It  is  lighter  in  weight,  less  in  cost, 
and  the  fact  of  its  permanence  and  dur- 
ability has  been  tested  thoroughly  over 
a  long  period. 

The  metal  does  not  oxidize,  discolor 
or  change. 

The  obvious  advantages  are  positively 
no  fire  possibilities  at  any  time  under 
any  conditions  and  the  complete  elimina- 
tion of  shrinkage. 

The  possibilities  of  melting  or  tearing 


in  the  projection  machine  are  negligible. 

The  elimination  and  tolerance  differ- 
ences over  the  entire  film  prevents 
quaver  or  distortion  of  sound  or  image. 

Printing  from  the  negative  may  be 
done  by  contact  or  by  optical  means. 

The  use  of  color  films  on  metal  has 
definite  possibilities  because  of  the  pos- 
sibilities of  accuracy,  the  elimination  of 
shrinkage  and  stretching  elements,  and 
the  factor  of  long  life. 

To  everybody  connected  with  the  film 
industry,  the  Carter  metal  film  means 
personal  safety  from  all  fire  hazards. 

When  coated  on  both  sides  it  means 
a  saving  of  storage  space  and  economy 
per  lineal  foot.  With  the  perfection  of 
projection  machines  based  on  the  pre- 
viously named  optical  system,  it  will 
mean  images  equal  to  the  best  by  trans- 
mitted light,  together  with  an  almost 
third  dimensional  effect  peculiar  to  this 
metal  film. 

Finally,  the  elimination  of  fading, 
scratching,  or  melting,  together  with  the 
fact  that  the  film  may  be  safely  used 
in  any  location,  constitutes  this  modern 
metal  film  a  major  development  for  pro- 
jection in  the  home,  for  permanent  rec- 
ords, and  for  the  motion  picture  field. 

Another  article  in  this  series  will  ap- 
pear shortly,  possibly  in  September. 


Process  Corporation  Starts 
Business  in  New  Structure 

THK  Motion  I'icluic  I'ro.ess  Cor- 
poration, following  the  comple- 
tion of  its  building  at  1117  North 
McCadden  place,  has  entered  actively 
into  studio  and  commercial  work  in  both 
miniature  and  process.  E.  Roy  Davidson 
is  in  charge  of  the  technical  department, 
aided  by  Harry  Zech,  A.S.C.  John  Gen- 
tile is  president  and  Mario  Castegnaio  is 
vice  pi-esident  and  treasurer. 

The  building  has  a  floor  area  of  60 
by  150  feet.  There  are  several  Flat- 
light  screens,  three  of  which  are  8  by  10 
feet,  10  by  12  feet  and  12  by  18  feet. 
The  equipment  includes  the  latest  New- 
matz  projector.  It  is  equipped  with  a 
device  whereby  the  cameraman  at  the 
rear  of  the  screen  supervises  the  focus- 
ing by  remote  control.  The  two  stations 
also  are  connected  by  interphone. 

The  building  has  its  own  generating 
plant  of  suflScient  capacity  to  handle  any 
amount  desired.  The  staga  is  sound- 
proof and  the  floor  is  of  concrete.  There 
is  a  darkroom  and  also  a  library  devoted 
to  black  and  white  and  color  photog- 
raphy. There  are  bathrooms  and  two 
modern  dressing  rooms  of  suflRcient  size 
to  take  care  of  a  large  cast  if  necessarj'. 

The  lighting  system  consists  of  an 
installation  of  the  latest  Bardwell  and 
McAlister  lamps. 

By  way  of  comparison  there  is  on  the 
floor  one  of  the  former  style  camera 
boxes  8  by  8  by  8  feet  in  cubic  capacity. 
With  the  Newmatz  the  cubic  contents  is 
reduced  to  2V2  by  5  by  6  feet — a  cut  from 
512  to  75  cubic  feet.  The  newer  equip- 
ment may  be  handled  by  one  man  in 
comparison  with  the  several  needed  with 
the  former. 


Swiss  Magazine  Sponsors 
Photographic  Competition 

The  publisher  of  Camera,  illustrated 
photographic  monthly,  C.  J.  Bucher  Ltd., 
Lucerne,  Switzerland,  invites  entries  for 
its  International  Competition  of  Artistic 
Photographic  Pictures  1938.  Entries 
close  September  1  of  this  year.  Prizes 
range  for  the  first  five  from  40  frs.  to  20 
frs.  Also  there  are  two  sixth  prizes,  at 
15  frs.,  and  two  seventh  at  10  frs. 
CONDITIONS 

The  following  should  be  observed:  All 
positive  processes  will  be  accepted,  ex- 
cept hand-coloured  pictures;  each  com- 
petitor may  submit  an  unlimited  number 
of  pictures;  the  pictures  should  be  sent 
as  "Printed  matter  without  value"  and 
addressed  to: 

The  Publishers  of  "Camera" 

Photographic  monthly  review, 

C.  J.  Bucher  Ltd. 

Lucerne  (Switzerland), 

Zurichstrasse,  3/5 

The  competitor  consents  to  the  repro- 
duction in  Camera  of  his  submitted  pic- 
tures. The  pictures  should  be  unmount- 
ed if  possible.  On  the  reverse  of  every 
picture  the  name  and  address  of  the 
coinpetitor  should  be  written  and  also 
details  of  the  negative  and  positive 
process.  All  above  particulars  should 
also  be  noted  on  the  entry  form. 


August,  1938    •    American  Cinematographer  319 


Finely  Equipped  English  Studios 
Are  All  Set  for  Industrial  Jump 

By  ELMER  C.  RICHARDSON,  A.  S.  C. 


Foreigners  visiting  Hollywood's  stu- 
dios during  the  recent  production  slump 
could  hardly  have  taken  home  with  them 
a  true  impression  of  Hollywood's  pro- 
duction methods  and  activities.  During 
my  recent  visit  to  England  I  felt  myself 
in  similar  case,  for  I  arrived  during  a 
comparable  cessation  of  production. 

Nevertheless,  I  took  away  the  impres- 
sion that  England  is  remarkably  well 
equipped  for  production,  both  in  man 
power  and  in  studio  equipment,  and 
awaits  only  her  industry's  revival  from 
the  depression  that  followed  the  British 
film  boom  of  a  few  years  ago. 

This  revival,  according  to  all  indica- 
tions, is  definitely  in  sight.  The  British 
film  industry  is  becoming  well  reorgan- 
ized after  its  over  expansion  and  the 
long  heralded  making  of  British  produc- 
tions on  a  worth  while  scale  by  Holly- 
wood companies  seems  definitely  mate- 
rializing at  last. 

Two  notable  British-made  films  of  this 
nature  are  already  on  release:  M-G-M's 
"A  Yank  at  Oxford"  and  Twentieth- 
Century-Fox's  "We're  Going  to  be  Rich." 
Neither  of  these  nor  the  several  other 
projected  features  in  any  way  can  be 
compared  to  the  "quota  pictures"  of  a 
few  years  ago.  They  are  major  produc- 
tions in  the  best  sense,  made  and  planned 
for  the  world  market. 

Quota  Law  Settled 

In  many  quarters  the  recent  British 
production  slump  has  been  partly  blamed 
on  the  fact  that  during  the  past  year 
there  was  much  indecision  as  to  what 
would  be  the  terms  of  the  new  Btitish 
quota  law.  This  finally  has  been  settled. 
Its  terms  should  in  many  ways  be  bene- 
ficial to  the  film  industry  on  both  sides 
of  the  Atlantic. 

Instead  of  the  old  provisions  for  quo- 
tas in  terms  of  footage  or  number  of 
productions  the  new  act  sets  up  stand- 
ards of  budget  and  quality  by  which 
these  films  are  now  to  be  judged.  A  sin- 
gle production,  budgeted  at  double  the 
specified  figure,  will  under  this  new  law 
count  for  two  less  expensive  produc- 
tions. 

The  new  standards  should  be  beneficial 
to  both  the  British  and  the  American 
film  industries  and  to  the  theatre  going 
public  everywhere. 

Such  British  studios  as  I  had  an  op- 
portunity to  visit  compare  more  than 
favorably  with  American  plants.  Few  if 
any  are  as  large  as  our  larger  studios, 
but  in  both  plant  and  equipment  they 
are  extremely  modern. 


Several  of  them,  like  the  Denham  and 
Pinewood  studios,  have  been  built  from 
the  ground  up  within  the  last  three  or 
four  years.  Others,  like  Warner  Broth- 
ers' studio  at  Teddington,  have  been  so 
extensively  remodeled  and  expanded  as 
virtually  to  be  new  plants. 

As  has  been  frequently  mentioned  be- 
fore, the  equipment  in  these  studios 
would  in  many  ways  strike  a  familiar 
note  to  American  eyes.  Camera  equip- 
ment is  largely  De  Brie,  Bell  and  Howell 
and  Mitchell. 

American  Lights 

The  latter  are  in  many  studios  housed 
in  very  familiar-looking  blimps  sim- 
ilar to  those  used  here  by  Paramount 
and  Twentieth  Century-F'ox.  Technicolor 
equipment  and  methods  are  becoming 
almost  as  familiar  in  England  as  they 
are  here. 

Cinematographers  who  worked  in  Eng- 


land before  the  film  boom  often  com- 
mented that  the  lighting  equipment 
then  available  did  not  compare  favorably 
with  that  to  which  they  were  accustomed 
in  Hollywood. 

Today  this  has  changed  completely. 
Much  of  the  old,  German-made  equip- 
ment of  former  days  has  been  discarded 
and  replaced  by  familiar  lighting  units 
of  American  design.  The  newer  plants, 
of  course,  have  been  fully  equipped  with 
modern,  Hollywood-style  equipment. 

A  very  gratifying  proportion  of  this 
modern  lighting  equipment  is  the  prod- 
uct of  my  own  firm,  Mole-Richardson. 
Since  so  many  of  the  British  studios 
have  been  equipped  or  re-equipped  within 
the  last  few  years,  the  newer  designs 
like  the  Solarspot  in  its  various  sizes  are 
to  be  found  in  greater  profusion  than  is 
common  in  many  American  studios, 
(Continued  on  Page  327) 


Greg  (I  Tolnnd 
standing  beside 
the  In/drniilic 
ti'ipod  somewhat 
extended,  although 
perhaps  seiH'ral 
feet  sliort  of 
what  it  is  capable 
of  reaching  at  its 
limit  of  11  feet 
6  inches.  He  is 
shown  on  the 
floor  of  the 
Goldwyn  Studio, 
where  he  is 
photographing 
Gary  Cooper  and 
Merle  Oberon  in 
"The  Lad  11  and 
the  Cowboy." 


320     American  Cinematographer    •    August,  1938 


RELIABLE 


IT  WAS  not  by  chance  that  Eastman  Super 
X  became  the  world's  most  widely  used 
motion  picture  negative.  Super  X  simply 
proved  over  and  over  that  it  yielded 
the  world's  finest  photographic  quality. 
The  industry  takes  no  chance  in  continu- 
ing to  use  this  famous,  reliable  film. 
Eastman  Kodak  Company,  Rochester, 
N.  Y.  (J.  E.  Brulatour,  Inc.,  Distributors, 
Fort  Lee,  Chicago,  Hollywood.) 


EASTMAN  SUPER  A 

PANCHROMATIC  NEGATIVE 


August,  1938    •    American  Cinematographer  321 


Restrictions  Hedge  Quints  PFhen 
They  Are  Brought  Before  Camera 

One  Hour  a  Day  Is  Maximum  Time  They  Are  Permitted 
to  Work  in  Pictures,  from  11  to  12  Noon;  Only 
Most  Moderate  of  Electrical  Current  May  Be 
Employed,  While  Reflectors  Are  Barred — 
Cameraman  Clark  Reverts  to  Primitive 
Day  Customs  Without  Sacrifice  of 
Desired  Photographic  Results 

By  DANIEL  B.  CLARK,  A.S.C. 

Supervisor  of  Pliotograpliy,  Twentieth  Century-Fox  Studio 


UNTIL  some  unusual  circumstance 
forces  him  to  do  witliout  them  a 
cinematographer  seldom  realizes 
how  much  can  be  acconiplished  without 
the  deluxe  refinements  of  modern  studio 
methods  and  equipment. 

A  case  in  point  is  that  of  filming  the 
Dionne  quintuplets.  I  have  just  returned 
from  Callander,  Ont.,  where  for  the  third 


time  I  have  had  the  assignment  of  pho- 
tographing these  celebrated  babies  for  a 
Hollywood  production.  Despite  the  gen- 
erous cooperation  of  that  remarkable 
man  Doctor  Dafoe  and  his  associates,  the 
task  of  filming  the  quints  is  a  real  tech- 
nical problem,  due  to  the  unavoidable 
restrictions  which  safeguard  the  babies. 
For  four  years  Doctor  Dafoe  and  his 


staff  have  performed  a  series  of  medical 
miracles  in  keeping  these  children  alive 
and  healthy.  It  is  only  to  be  expected, 
then,  that  moviemaking  should  be  sub- 
ordinated to  questions  of  physical  safety 
for  them. 

Today,  though  the  quints  have  grown 
to  healthy,  active  four-year-olds,  they 
(Continued  on  Page  32U) 


Daniel  B. 
Clark,  A.S.C. 
(left)  and 
Director  Herbert 
Leeds  of  20th 
Century-Fox's 
"Five  of  a  Kind" 
show  Dr.  Allan 
Dafoe  the  workings 
of  a  studio 
camera 


322     American  Cinematographer    •    August,  1938 


Camera  Tells  Story  of  Precision 
Engineering  in  Art  Reeves  Plant 


PRECISION  engineering  and  manu- 
facture on  an  enlarged  scale  are 
the  outstanding  impressions  car- 
ried from  a  visit  to  the  new  plant  of  the 
Art  Reeves  Motion  Picture  Equipment 
Company  in  Hollywood.  Since  moving 
into  new  and  larger  quarters  early  in 
the  year  this  firm  has  so  increased  pro- 
duction as  to  become  one  of  the  nation's 
larger  makers  of  sound  recording  and 
laboratory  equipment. 

Art  Reeves,  the  firm's  founder,  con- 
tinues to  head  this  growing  organiza- 
tion, and  has  completely  reorganized  both 
staff  and  manufacturing  facilities.  With 
him,  as  chief  engineer,  is  L.  E.  ("Les") 
Taft,  radio  and  recording  engineer 
formerly  with  the  General  Service  Studio 
and  other  film  and  radio  organizations. 

In  the  new  location  the  Reeves  plant 
now  occupies  more  than  7,000  square 
feet  of  floor  space,  and  is  becoming  an 
increasingly  self-contained  organization, 
with  research,  engineering  and  manu- 
facture centralized  within  the  one  plant. 
Glow  Lamp  Making 
An  example  of  this  centralization  may 
be  found  in  the  manufacture  of  the  well 
known  Reeves'  "Line-O-Lite"  recording 
glow  lamp.  This  firm  is  one  of  only  two 
in  the  United  States  making  recording 
glow  lamps,  and  every  stage  of  manu- 
facture, from  blowing  the  glass  envelopes 


and  element  supports  to  the  completion 
and  testing  of  the  tubes  is  conducted 
within  the  one  plant. 

Ceaseless  research  is  carried  on  with 
a  view  to  further  increasing  the  effi- 
ciency of  these  tubes.  In  addition  to 
the  gases  ordinarily  used  in  such  lamps, 
Reeves  and  Taft  are  experimenting  with 
tubes  charged  with  virtually  every  other 
available  gas,  including  several  rare 
and  costly  ones  such  as  Xenon,  Krypton, 
etc. 

An  interesting  instrument  used  in  the 
manufacture  of  these  tubes  is  a  35,000 
watt  radio-frequency  furnace.  This  de- 
vice, by  means  of  huge,  water-cooled 
radio  transmitting  tubes,  generates  radio 
frequency  impulses  of  nearly  1,000,000 
cycle  frequency. 

The  recording  tubes,  while  being  evac- 
uated, are  subjected  to  these  frequen- 
cies, which  heat  the  metallic  filaments 
and  grids  to  incandescent  heat  by  in- 
duction, thereby  vaporizing  any  occluded 
gases  or  other  impurities  in  the  metal. 

When  completed  the  glow  lamps  are 
tested  both  electrically  and  spectro- 
scopically,  to  assure  uniform  frequency 
response  and  actinic  emission. 

Johannsen  Gauges  Marvels 

Other  remarkable  instruments  used  in 
manufacturing  and  testing  the  Reeves 
recording    equipment,    developing  ma- 


chines, sensi-testers  and  accessories  are 
the  celebrated  Johannsen  gauges,  one  of 
the  few  sets  of  such  gauges  in  use  in 
the  west.  These,  as  is  well  known,  con- 
sist of  a  series  of  metal  blocks,  made 
with  such  incredible  accuracy  that  any 
number  of  them  can  be  placed  together 
to  form  a  measuring  surface  of  any 
desired    size.     When    placed  together 


molecular  attraction  alone  holds  them 
rigidly  as  a  single  unit,  precision-dimen- 
sioned to  within  three  millionths  of  an 
inch.  They  are  regarded  as  the  ulti- 
mate in  precision  measuring  instru- 
ments. 

With  these  precision  methods  and  the 
newly  expanded  production  facilities,  it 
is  little  wonder  that  Reeves'  Hollywood- 
made  recording  and  laboratory  products 
have  built  an  enviable  name  for  them- 
selves on  the  world  market.  Further  out- 
standing developments  are  now  "on  the 
fire"  and  will  be  reported  in  future 
issues. 


New  Keystone  Projector 

A  new  slide  projector  for  black  and 
white  or  color  films,  with  a  patented 
heat  absorbing  unit  to  pro\'ide  sure  pro- 
tection against  burning  or  buckling  of 
the  film,  is  now  made  available  by  the 
Keystone  Manufacturing  Company. 

An  efficient  cooling  chamber  built  into 
the  slide  projector  acts  as  an  additional 
safeguard  against  excessive  heating  of 
the  slides  and  makes  possible  longer 
showing  of  individual  transparencies. 
There  are  many  other  features  of  the 
new  projector. 


Star  and  Cameraman — Ronald  Colman,  playing  Francois  Villon  in  "If  I  were  King" 
the  Frank  Lloyd  production  for  Paramount,  chats  with  Theodor  Sparkuhl,  A.S.C. 
between  scenes.    Sparkuhl  also  photographed  "Wells  Fargo,"   which   Lloyd  also 
produced  and  directed  for  Paramount  release 


Descriptive  of  Scenes  on 
Opposite  Page 

1.  Display  room  of  new  Reeves  plant, 
showing  automatic  developing  machine, 
sensi  tester  and  other  equipment  set  up  for 
demonstration. 

2.  Display  room   and  offices. 

3.  Blowini;  the  envelope  of  a  "Line-O- 
Lite"  recording  glow  lamp. 

4.  Shaping  a  recording  lamp  envelope. 

5.  Assembly  of  glow  lamps. 

6.  Group  of  glow  lamps  being  evacu- 
ated. 

7.  Huge  3.5-KW  radio  frequency  tube  of 
the  radio  frequency  furnace  or  "bom- 
barder." 

8.  Generating  unit  of  furnace. 

9.  Spectroscopic  tests  of  glow  lamps. 

10.  Electrical  test  bench. 

11.  Set  of  Johannsen  gauges — accurate 
to  three  millionths  of  an  inch. 

12.  Assemblying  microphone  pre-ampli- 
fiers. 

13.  Portion  of  shop  area. 

14.  Battery  of  sensi  testers  being  as- 
sembled. 


August,  1938    •    American  Cinejmatografher  323 


324     American  Cinbmatographer    •    August,  1938 


Restrictions  Hedge  Quints 

(Continued  from  Page  321) 

are  allowed  no  more  time  before  our 
cameras  than  when  they  were  babies. 
One  hour  a  day — from  11  a.m.  until  noon. 
Since  the  next  item  on  their  daily  sched- 
ule is  lunch,  twelve  o'clock  was  very 
positively  the  end  of  our  shooting  day 
with  the  children.  Nothing  could  inter- 
fere with  that! 

Protect  Quints  from  Light 

The  intensity  of  light  to  which  the 
quints  can  be  subjected  is  also  strictly 
limited.  We  used  the  same  eight  lamps 
we  had  used  on  both  previous  occasions. 
These  consisted  of  six  Photoflood- 
equipped  Mole-Richardson  Cinelite  flsod- 
lights  and  two  smaller  Photolites. 

All  of  them  were  regularly  diffused 
with  a  daylight-blue  gelatin  and  a  silk. 
Our  electrical  needs  were  so  small  that 
the  current  was  supplied  by  a  little  50- 


ampere  generator  driven  by  a  Ford 
motor! 

Lighting — in  the  studio  sense — with  so 
limited  an  array  of  equipment  seems  im- 
possible. My  gaffer  (electrician),  who 
by  the  way  was  the  only  member  of  the 
technical  crew  who  had  not  been  to  Cal- 
lander on  previous  trips,  when  he  first 
saw  the  extremely  soft  illumination  our 
lights  provided,  was  positive  we  could 
not  get  an  exposure  with  so  little  light. 

I  must  confess  that  unless  I  had 
knovra,  from  experience  and  tests,  that 
it  was  )iossible  to  work  with  that  little 
light,  I  would  have  doubted  it  myself! 

But  to  do  so  one  must  forget  lighting 
as  we  in  the  studios  generally  under- 
stand the  term.  With  only  six  units  to 
work  with,  and  these  diffused  to  the 
maximum  of  softness,  the  only  type  of 
lighting  possible  is  a  very  simple,  bal- 
anced lighting.  As  a  rule,  I  used  the 
daylight  coming  through  the  windows 
for  my  key  light,  and  balanced  the  arti- 
ficial light  to  that  key. 


It  was  also  necessary  to  spread  my 
illumination  over  a  rather  broad  angle, 
so  that  we  might  be  ready  to  take  ad- 
vantage of  any  unexpected  action  by  any 
of  the  five  youngsters,  no  matter  where 
it  took  place. 

Ileflectors  Taboo 

When  the  weather  permitted,  we  did 
our  filming  outdoors,  in  the  children's 
playyard.  For  this  reflectors  were  of 
course  taboo.  An  adult  finds  it  hard 
enough  to  face  a  battery  of  reflectors; 
they  would  be  unbearable  to  children's 
eyes.  Therefore  we  used  our  Cinelites, 
diffused,  as  always,  for  "boosters." 

This  illustrates  the  intelligent  way 
Doctor  Dafoe  cooperated  with  us  wher- 
ever possible.  At  first  mention  the 
thought  of  "boosters"  seemed  taboo.  But 
when  he  was  shown  the  difference  be- 
tween the  unaided  natural  lighting  and 
natural  lighting  softened  by  boosters,  he 
agreed  that  they  were  important.  Then, 
when  he  saw  with  his  own  eyes  that  our 
lights,  diffused  with  the  blue  "jelly"  and 
the  silk,  were  actually  far  less  intense 
than  the  blue  sky  behind  them,  he  will- 
ingly consented  to  our  use  of  "boosters". 

The  v/eather,  however,  was  none  too 
favorable  for  exterior  camerawork.  Many 
days,  when  we  had  planned  to  work  out- 
doors, the  weather  turned  cloudy,  and  wo 
had  to  transpose  our  scenes  indoors.  In 
many  ways,  this  proved  an  advantage, 
however,  for  it  gave  us  an  opportunity 
to  show  many  rooms  in  the  hospital 
which  had  never  before  been  shown  in 
motion  p'ctures. 

We  have  scenes  not  only  in  the  yard 
and  the  quints'  playroom,  but  in  their 
bedroom,  dining  room,  and  so  on.  Work- 
ing in  some  of  these  rooms  was  a  prob- 
lem, for  the  largest — the  playroom — 
measures  but  17  by  20  feet,  and  the 
others  are  proportionately  smaller. 

Nonetheless,  in  spite  of  all  these  diffi- 
culties, we  worked  fast.  One  day,  in  our 
short  one-hour  working  time,  we  made 
as  many  as  26  set-ups! 

Preparedness 

Careful  planning  was  naturally  the 
secret  of  this  success.  Director  Herbert 
Leeds  and  I  went  up  to  Callander  a  full 
two  weeks  before  shooting  commenced, 
not  only  to  confer  with  Doctor  Dafoe  as 
to  what  should  and  should  not  be  done, 
but  to  familiarize  ourselves  with  the 
location — and  to  familiarize  our  five  lit- 
tle starlets  with  us! 

To  my  surprise  and  pleasure,  the 
youngsters  remembered  me  from  my  two 
previous  visits,  and  unhesitatingly  picked 
me  from  the  group  as  "M's'ieu'  Clark". 

Each  night  Director  Leeds  and  I  would 
carefully  plan  the  next  days  work.  When 
11  o'clock  came  the  next  morning,  we 
would  have  everything  set  up — camera 
and  sound  equipment  ready,  and  lights 
on — while  we,  thoroughly  disinfected  and 
clad  in  .=?urgical  robes,  caps  and  masks, 
awaited  our  five  little  actresses. 

At  work  most  of  the  communication 
between  members  of  the  crew  had  to  be 
by  pantomime,  in  a  set  of  carefully  ar- 
ranged signals.  This  was  necessary,  not 
only  because  we  were  shooting  every- 


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AND  ALL  ACCESSORIES 

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HE-2277  HOLLYWOOD,  CALIFORNIA  Trissel  -  No.  Hoi.  5992W 


MOLE-RICHARDSON  CO. 

Studio  Electrical  Specialists  Since  1927 
941  No.  Sycamore  Ave..  Hollywood.  Coliiomia 


August,  1938    •    American  Cinematographer  325 


Cameraman  and  Director — Charles  E. 
Schoenbaum,  A.S.C.,  left  and  Director 
James  Hogan  look  over  clips  from  the 
first  day's  filming  on  "Sons  of  the 
Legion"  at  Par-amount.  The  picture  fea- 
tures three  child  stars — Donald  O'Con- 
nor, Billy  Lee  and  Billy  Cook. 


up  the  four  others  at  the  other  end  of 
the  room,  busily  giving  them  direction. 
She  hurried  back  to  her  stove  "camera," 
and  imitated  various  actions  she  had 
seen  me  and  my  operative,  Curtis  Fet- 
ters, go  through. 

And  finally  she  stepped  in  front  of  the 
"camera"  and  "synked"  the  scene  with  a 
perfect  little  hand-clap! 


American  motion  pictures  were  voted 
the  first  five  places  among  all  foreign 
pictures  shown  in  Sweden  during  the 
past  season,  according  to  a  report  to  the 
Department  of  Commerce. 

The  pictures  were  judged  by  the  com- 
mittee of  Swedish  film  reviewers  at  its 
annual  meeting  which  was  recently  held 
in  Stockholm.  The  meeting  was  held 
under  the  auspices  of  the  Swedish  Motion 
Picture  Journal.  A  total  of  16  pictures 
were  voted  upon  by  the  committee. 


thing  in  sound,  but  so  as  to  avoid  dis- 
tracting the  attention  of  our  young 
players. 

This  time,  too,  our  shooting  was  far 
less  a  matter  of  chance — of  taking  what- 
ever the  quints  chose  to  do  and  hoping 
for  the  best — than  ever  before.  As  four- 
year-olds  they  have  now  grovra  old 
enough  to  understand  when  thsy  are  told 
to  do  definite  things. 

Thus  each  has  very  specific  "business" 
to  do,  and  to  some  extent  definite  lines 
to  speak.  They  even  sing  a  couple  r.f 
little  songs,  one  in  English.  And  on 
several  occasions  they  had  to  do  their 
stuff  on  definite  cues.  The  most  experi- 
enced trouper  could  not  have  picked  up 
his  cues  more  smartly  than  these  babies! 

As  a  r  esult,  we  are  going  to  be  able  to 
use  far  more  footage  of  the  quintuplets 
in  this  picture  than  in  either  of  the  two 
previous  ones.  Before  their  scenes  were 
more  or  less  incidental,  and  their  total 
released  footage  did  not  exceed  750  feet. 
In  this  picture,  "Five  of  a  Kind,"  their 
scenes  are  dramatically  important  to  the 
story,  and  we  expect  to  use  more  than 
2500  feet  of  quints  scenes. 

Personalities  Growing 

Their  personalities  are  growing  more 
individually  marked  all  the  time.  Doctor 
Dafoe  exercises  remarkable  care  to  in- 
sure that  each  one  has  a  chance  to  de- 
velop to  the  full  mentally  as  well  as 
physically.  Really,  enough  cannot  be 
said  about  the  way  this  fine  man  has 
consecrated  himself  to  the  tremendous 
task  of  bringing  these  babies  up  to  a 
normal  life,  mental  as  well  as  physical. 

As  I  have  said  before,  whatever  suc- 
cess we  may  have  had  in  obtaining  spon- 
taneous, natural  pictures  of  the  babies 
owes  much  to  Doctor  Dafoe,  not  alone  to 
his  cooperation  and  to  the  way  he  has 
raised  them,  but  to  the  marvelous  bond 
of  mutual  affection  that  exists  between 


the  six  of  them.  His  mere  presence  in- 
spires tiiem,  as  might  the  presence  of  a 
loved  and  trusted  parent. 

And  don't  imagine  that  the  little  rar,- 
cals  walked  through  their  scenes  unconi- 
prehendingly.  One  of  the  outstanding 
incidents  I  recall  took  place  at  the  close 
of  one  day's  shooting.  Our  only  method 
of  making  syncmarks  was  the  old-fash- 
ioned handclap.  As  we  left  the  playroom 
that  day  I  saw  little  Yvonne  busily  play- 
ing at  "making  movies"  in  her  own  way. 

We  had  brought  the  quints  five  little 
electric  stoves.  Yvonne  had  set  hers  up 
in  one  corner  of  the  room,  where  we  had 
had  our  blimped  camera.    Then  she  lined 


MUST  SACRIFICE 

DE  BRIE  SUPER  PARVO 

l\etc  Type  Ultra  Silent  Camera — 
ISo  Blimp  ISecessary 

Has  built-in  motor,  automatic  dissolve, 
pilot  pins  and  anti-buckllng  device.  Four 
lOOO-ft.  magazines — 40  mm.  50  mm.  and 
75  mm.  F2.3  lenses,  De  Brie  upright  finder, 
set  of  front  attachments.  Leather  covered 
carrying  trunk.  It's  the  latest  type  equipment 
.  .  .  like  new! 

Camera  Equipment,  Inc. 

1600  Broadway  New  York  City 

Tel.  Circle  6,5080  Cable:  Cinequip. 


Camera  Supply  Co. 

FOR 

Efficient-Courteous  Service 

GORDON  BENNETT— MANAGER 
• 

Everything  Photographic 
Professional  and  Amateur 
• 

New  and  Used  Equipment 
Bought — Sold — Rented 
• 

ART  REEVES 

Camera  Supply  Co. 


HOLLYWOOD 


1515  North  Cahuenga  Boulevard 
Cable  Address — Cameras 


CALIFORNIA 


326     American  Cinematographer    •    August,  1938 


Name  Haythorne  Technical 
Consultant  for  American 

Reed  N.  Haythorne,  A.S.C.,  in  charge 
of  motion  pictures.  Section  of  Informa- 
tion, Department  of  Agriculture,  Wash- 
ington, has  been  appointed  chief  tech- 
nical consultant  for  the  American  Films 
Corporation,  with  offices  in  Washington 
and  studios  in  Alexandria,  Va.  The 
president  is  Edward  Alexander,  and  vice 
president  C.  Reese  Warde. 

The  company  is  planning  to  produce 
a  series  of  historical  films  for  theatrical 
and  non-theatrical  release,  as  well  as 
industrial  and  educational  pictures  and 
to  have  its  studios  completed  by  October 
1.  It  is  negotiating  with  a  New  York 
laboratory  to  take  over  its  personnel  and 
activities. 


Automatically  Project  12 

Slides  in  Continuous  Run 

The  new  Leitz  Automatic  Continuous 
Projector  permits  twelve  slides  to  be 
shown  over  and  over  again,  in  consecu- 
tive order,  for  intervals  ranging  from 
10  seconds  to  a  minute.  Either  stand- 
ard front  projection  or  rear  projection 
on  a  translucent  screen  may  be  em- 
ployed. 

The  projector  accommodates  the  2  by 
2  inch  square  glass  slides,  either  in  black 
and  white  or  color.  In  the  case  of  the 
latter  the  slide  consists  of  1  by  IV2 
inch  color  transparencies,  such  as  are 
made  with  the  Leica  camera,  mounted  be- 
tween two  two-inch  square  glass  plates. 

The  mechanism  is  switched  on  after 
the  oparator  has  loaded  the  twelve  slides 


Dollies' ^^"^"^ 

RCCESSORiEs 
mOYIOLflS 


Motion  PicruReCRmcRR  SuppiYjnc. 

723  SEVENTH  AVE.  NEW-YORK-CITY 


BRYANT  9-7754 


J.BVRGl  CONTNER 


CABLE  CINECAMERA 


NOW 


KEG-LITE 
2000  Watt 


The 

BABY  KEG 
500  Watt 


QUICK  FOCUSING 


COOL 


EFFICIENT 


SIMPLE 


Bardwell  &  McAlister,  Inc. 

MOTION  PICTURE  ELECTRICAL  EQUIPMENT 
7636  Santa  Monica  Blvd. 
Hollywood,  California  Tel.  HOllywood  6235 


Automatic  continuous  projector  which  is 
a  combination  of  the  Leica  VIII-S  pro- 
jector   and    the    automatic  continuous 
projector  attachment. 


into  the  slots  of  the  revolving  disc.  Each 
slide  is  shown  for  10  seconds,  one  min- 
ute, or  any  intermediate  interval — de- 
pending upon  the  rheostat  adjustment. 
During  the  change  from  one  slide  to  an- 
other the  projection  lamp  is  momen- 
tarily switched  off  by  means  of  an  auto- 
matic mercury  switch,  producing  a  pleas- 
ing blend-effect. 


'jTVln  W^rU-WiJ^  Use 


Diffus^fd  Fc^^us  and  many  ^fWr^ffv^ 


Gcorqe  H.  Scheibo 

ORIGINATOR  OF  EFFECT  FILTERS 


1 


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LOS  ANGELES  CAL 


FAXON  DEAN 


EVC. 


CAMERAS 

BLIMPS-DOLLYS 

FOR  REXT 

MO.  11838 

4516  Sunset  Boulevard 
Night,  NO.  22563 


August,  1938    •    American  Cinejmatographer  327 


General  Electric  Issuing 
Meter  with  Single  Scale 

For  those  who  prefer  fewer  figures  on 
the  scale  plate  the  General  Electric  ex- 
posure meter  is  now  available  with  a 
single  arc  scale.  Involving  no  changes 
in  the  meter  itself,  the  new  scale  pro- 
vides complete  camera  settings  with  the 
aid  of  the  calculator  although  it  does 
not  interpret  exposure  data  at  a  glance 
— as  does  the  full-scale  unit.  It  is  felt 
that  this  scale,  offered  as  an  alternate  to 
the  direct-reading  unit,  will  prove  val- 
uable to  many  less-technical  users. 

The  G-E  meter,  with  its  easily  re- 
movable cover,  gives  accurate  readings 
in  bright,  medium,  and  dim  light.  Its 
use  is  the  same  for  movies  or  stills,  in 
color  or  in  black  and  white. 

Since  it  becomes  a  light  meter  when 
the  hood  is  removed,  the  G-E  exposure 
meter  is  finding  interesting  new  appli- 
cations. Many  photographers  are  using 
it  in  the  darkroom  for  calculating  the 
correct  enlarging  time.  It  is  also  being 
used  to  simplify  print-making  by  meas- 
uring the  transmission  factors  of  nega- 
tives. 


Fried  Camera  Company  Now 
Set  with  Added  Facilities 

The  Fried  Camera  Company,  6156 
Santa  Monica  Boulevard,  has  expanded 
its  shops  and  production  facilities  to 
meet   its   growing   precision  laboratory 


and  photographic  equipment  require- 
ments. The  company  covers  the  fields 
of  color,  35mim.  and  16mm.  Included  in 
its  list  of  equipment  are  developing  ma- 
chines, optical  printers,  light  testing 
machines,  registration  step  printers,  con- 
tinuous printers  and  special  cinema  ma- 
chinery and  it  takes  care  of  technical 
service  generally. 


English  Studios  All  Set  for 
Industrial  Jump 

(Continued  from  Page  319) 
where  large  supplies  of  older,  conven- 
tional units  created  a  problem. 

On  the  sets  where  British-made  Tech- 
nicolor productions  are  filming  the  light- 
ing equipment  consists  entirely  of  M-R 
Side  Arcs  and  H.I.  Arcs.  In  fact,  save 
for  accents,  an  American  visitor  on  such 
a  set  might  easily  imagine  himself  at 
home. 

So  great  has  been  the  demand  for 


modern  American-style  equipment  in  the 
British  and  Continental  production  cen- 
ters that  our  firm  has  established  a 
British  affiliate,  Mole-Richardson  (Eng- 
land), Ltd.  This  occupies  a  factory  al- 
most as  large  as  our  Hollywood  estab- 
lishment, and  is  in  active  production  on 
such  equipment  as  the  four  sizes  of 
Solarspots,  the  side  arcs,  scoops  and 
H.I.  arc  spotlights. 

Electricity  Expensive 

The  British  studios,  almost  without 
exception,  have  one  electrical  problem 
unknown  in  America.  This  is  the  ques- 
tion of  power  supply.  Electricity  is  very 
expensive  in  England,  and  there  are 
often  difficulties  in  securing  service  from 
the  established  utilities.  For  this  reason 
virtually  every  studio  finds  it  necessary 
to  generate  its  own  electricity. 

Diesel-powered  installations  are  gen- 
erally used.  The  power  plant  at  the  Den- 
ham  studio  has  often  been  described. 
The  one  at  the  Pinewood  studio  is  sim- 


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328     American  Cinematographkr    •    August,  1938 


ilar.  It  is  a  multiple-unit  Diesel  installa- 
tion and  in  it,  as  in  the  one  at  Denham, 
an  interesting  and  practical  feature  is 
that  the  heat  absorbed  by  the  water 
cooling  systems  of  the  Diesel  units  is 
utilized  to  aid  in  heating  the  studio 
buildings. 

Due  to  these  same  difficulties  it  is 
virtually  impossible  for  a  location  unit 
to  tap  the  public  power  lines  as  we  do 
here — even  if  the  location  is  directly 
under  such  a  line.  Therefore  gasoline- 
powered  generator  trucks  have  become 
very  popular.  Due  to  weather  and  other 
conditions,  however,  location  work,  with 
or  without  lights,  is  not  as  general  as 
it  is  in  America. 

Another  thing  that  would  seem  strange 
to  Hollywood  eyes  is  to  be  found  in  the 
Gaumont-British  studio  at  Shepherd's 
Bush.  Here  the  studio — including  the 
stages — is  centralized  in  an  eight-story 
building! 

Technicians  Progress 

The  laboratory  problems  of  a  few 
years  ago  seem  to  be  lessening.  Due  to 
the  pressure  of  business,  I  was  able  to 
visit  only  one  laboratory.  This  was 
Technicolor's  excellent  new  color-process- 
ing plant  which  in  addition  to  caring  for 
European  Technicolor  production  is  also 
busy  making  European  release  prints  of 
Hollywood  color  films.  I  am  informed 
that  many  of  England's  black  and  white 
laboratories  now  are  well  on  a  par  with 
those  familiar  here  in  Hollywood. 


In  general,  British  production  has 
gained  much  from  the  example  of  the 
many  American  cinematographers  and 
other  technicians  who  have  worked  there 
in  recent  years.  However,  the  day  when 
an  American  technician  could  go  to  Eng- 
land and  be  sure  of  work  simply  because 
he  was  from  Hollywood  seems  definitely 
past.  British  technicians  have  progressed 
tremendously  and  are  becoming  increas- 
ingly qualified  to  stand  on  their  own 
merits. 

American  cinematographers  and  other 
key  artists  and  technicians  are  by  no 
means  barred  from  England,  though  laws 
and  organization  agreements  naturally 
seek  to  protect  the  British  worker.  How- 
ever, the  American  cinematographer  who 
goes  to  England  today  must  be  unques- 
tionably in  the  front  rank  of  his  pro- 
fession, and  so  outstanding  as  an  artist 


or  technician  that  his  work  clearly  can- 
not be  duplicated  by  any  British  subject 
available. 

In  general,  it  may  be  said  that  Eng- 
land has  practically  everything  funda- 
mentally necessary  to  produce  good  pic- 
tures. Her  industry  has  recently  been 
passing  through  a  depression  which 
equals  if  it  does  not  surpass  the  slump 
our  own  industry  has  felt  for  the  last 
six  months.  It  appears,  however,  that 
we  here  in  Hollywood  are  emerging  from 
our  difficulties,  and  our  colleagues  across 
the  water  are  slowly  doing  the  same. 

The  most  encouraging  sign  is  the  fact 
that  the  most  needed  element — increased 
understanding  and  cooperation  between 
these  two  production  centers — is  begin- 
ning to  make  itself  felt  in  a  constructive 
way.  As  this  occurs,  only  good  can  re- 
sult on  both  sides  of  the  Atlantic. 


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OPTIONAL  ACCESSORIES.  Filmo  I4l  lens  is  instantly 
interchangeable  with  extra  special-purpose  lenses.  Inter- 
changeable viewfinder  objectives  are  available  to  match  the 
finder  field  to  seven  lens  focal  lengths.  Convenient  brown 
cowhide  carrying  case  which  accommodates  camera,  extra 
lenses,  and  extra  film  magazines  is  also  available. 


INSTANT  LOADING.  Just  open  the  hinged  door,  insert 
film  magazine,  snap  the  door  shut,  and  your  Filmo  14 1  is 
loaded  ready  to  shoot.  Interchange  film  at  any  time.  Filmo 
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zines obtainable  everywhere. 


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Is  the  Word  for  This  Newest  Bell  &  Howell 
Instant-loading  16  Mm.  Magazine  Camera 


FILMO  14 1  makes  a  big  hit  with  movie- 
makers who  want  a  fast-loading,  easy-to- 
operate  1 6  mm.  camera.  For  Filmo  141  reduces 
movie-making  to  the  simplest  operations — 
makes  it  almost  automatic.  Yet  this  pocket- 
fitting  Filmo  is  amazingly  adaptable  to  every 
situation. 

With  Filmo  141,  you  can  change  from  one 
type  of  film  to  another  any  time,  anywhere, 
without  fogging  a  single  frame!  Change  film 
to  suit  your  subject — from  color  to  black-and- 
white,  then  back  to  color,  instantly.  A  dial 
indicator  on  the  magazine,  visible  both  in  and 
out  of  the  camera,  registers  the  footage  of 
unexposed  film. 

"Projected-area"  Viewfinder,  an  important 
new  feature,  permits  no  change  of  field  if  your 
eye  wanders  from  the  center  of  the  eyepiece. 
It  gives  a  greater  magnification  of  the  image. 
It  sharply  defines  the  edges  of  the  field  of 
view.  Extraneous  light  is  excluded,  and  ele- 
ments are  protected  from  dirt  and  damage 
because  this  finder  is  built  into  the  camera. 

Four  Operating  Speeds — your  choice  of  two 
speed  ranges — Filmo  141-A  offers  8,  16,  24, 
and  32  frames  per  second,  and  Filmo  141-B 
oflfers  16,  32,  48,  and  64  frames  per  second — 
affording  a  valuable  variety  of  intermediate 


speeds  in  addition  to  either  slow-motion  or 
half  speed.  Filmo  141-A  is  equipped  with  a 
fine  Taylor-Hobson  Cooke  one-inch  F  2.7 
lens  in  universal  mount.  Filmo  141-B  has  an 
ultrafast  B  &  H  Lumax  one-inch  F  1.9  lens  in 
focusing  mount,  or  a  Taylor-Hobson  F  1.5, 
if  you  prefer. 

Single-frame  Exposure  device  permits  inter- 
esting animation  work  of  all  kinds,  and  a 
starting- button  lock  lets  the  cameraman  get 
in  the  picture,  too. 

The  lens  mount  is  the  same  as  for  the  pro- 
fessionally versatile  Filmo  70  Cameras,  facil- 
itating the  interchange  of  special- purpose 
lenses — speed,  wide-angle,  and  telephoto. 

Built-in  B  &  H  exposure  calculator  gives 
detailed  coverage  of  every  outdoor  daylight 
photographic  condition.  Modern  in  design, 
Filmo  141  is  as  anraaive  as  it  is  efficient. 
Write  for  complete  details.  Bell  &  Howell 
Company,  Chicago,  New  York,  Hollywood, 
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BELL  &  HOWELL 


AMERICAN  CINEMATOGBAPHER 
AMATEUR  MOVIES  SECTION 


DO  YOU  WANT  TO  MAKE  A  SPLASH? 


you  can  get  outdoor  sequences 
that'll  really  be  talked  about 
...  if  you  use  Agfa  16mm.  Fine- 
Grain  Plenachrome  Reversible  .  .  . 
the  film  that's  ideal  for  all-around 
outdoor  photography. 

This  high-speed  film  has  wide  lati- 
tude, is  fully  sensitive  to  all  colors 
except  spectral  red,  and  is  ex- 
tremely fine-grained — for  large 


projection  without  loss  of  detail. 

For  better  outdoor  movies  this 
season  .  .  .  use  Agfa  16mm.  Fine- 
Grain  Plenachrome  Reversible  Film. 
Available  in  100-foot  rolls  at  $4.50, 
and  in  50-foot  rolls  at  $2.75,  in- 
cluding processing  and  return 
postage. 

Made  by  Agfa  Ansco  Corpora- 
tion in  Binghamton,  New  York. 


August,  1938 


•    American  Cinhmatographer  333 


AMATEUR  MOVIE 


SECTION 


Contents.... 


SOCIETY 

OF  AMATEUR 

C INEM  ATOGR  APHE  RS 


BOARD  OF  REVIEW 

Victor  Milner,  President,  A.S.C.,  Director 
of  Photography  Paramount  Studios,  Acad- 
emy Award  Winner  1935 

Karl  Struss,  A.S.C.,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award 
Winner  1928 

Fred  W.  Jackman,  Treasurer  American  So- 
ciety of  Cinematographers 

Dan  Clark,  A.S.C.,  Director  of  Photog- 
raphy Twentieth  Century-Fox 

Tony  Gaudio,  A.S.C.,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 
Award  Winner  1937 


Hollywooa  Motion  Picture  Forum  holds 

successful  fourth  meeting  334 

By  George  Blaisdell 

Eastman  brings  out  Super  Six-20 
coupling  photocell  with  aperture.  .  .335 

Bangup  homemade  bangaround  beanpole 
tripod  for  car  or  canoe  336 

Make-up  as  aid  to  amateurs  is  described 

by  veteran  specialist  337 

By  Max  Factor 

Gadgeteers    stage    regular    parade  of 
handiwork  at  Los  Angeles  8mm.  . .  .338 
By  Robert  W.  Teorey 

Visual  educator  must  keep  pace  with 

rapid  adv-ance  of  projector  339 

By  H.  W.  Remerschied 

Nothing   mysterious   about   filters  but 

don't  use  too  many  at  first  340 

By  Earl  Theisen 

Los  Angeles  8mm  clubbers  have  crowded 
July  meeting   341 

Bell  &  Howell  introduces  unique  16mm. 
magazine  loading  camera  342 

Eastman  adds  three  members  to  fast  ex- 
panding Bantam  family  344 

600  users  and  makers  of  school  and  busi- 
ness films  get  together  345 

Boris  Morros  at  Paramount  lectures  to 

U.S.C.  students   345 

How  I  made  a  16mm.  $25  Camera  dolly 

that  yielded  smooth  shots  346 

By  J.  Robert  Hubbard 
Amateur  who  works  out  details  of  pic- 
ture first  is  best  started  347 

By  J.  Francis  Brooks 


334     American  Cinematogbapher    •    August,  1938 


Eastman  Brings  Out  Super  Six-20 
Coupling  Photocell  with  Aperture 


ANEW  amateur  camera  which  au- 
tomatically adjusts  itself  accord- 
ing to  the  light  conditions  to  give 
a  perfect  exposure  of  the  scene  before 
it,  at  snapshot  shutter  speeds  from  1/25 
to  1/200  second,  is  announced  from 
Rochester  by  Eastman. 

In  this  camera,  the  Super  Kodak  Six- 
20,  technicians  have  accomplished  the 
extraordinary  feat  of  coupling  a  photo- 
electric cell  with  the  lens  diaphragm. 
When  a  picture  is  taken  the  lens  auto- 
matically "stops  down"  to  the  exact 
aperture  required  for  perfect  exposure 
at  the  selected  shutter  speed. 

Moreover,  the  same  camera  incorpo- 
rates a  range  finder  of  radically  new  de- 
sign, mechanically  coupled  to  the  focus- 
ing mount  of  the  lens  and  combinetl 
with  the  direct  eye-level  view  finder  in 
a  single  eyepiece.  Double  exposures  are 
automatically  prevented  by  a  device 
which  precludes  retripping  of  the  shutter 
until  the  film-winding  lever  is  operated. 

An  automatic  visual  warning  signal 
indicates  when  film  should  be  wound  to 
the  next  frame.  Winding  of  the  film 
automatically  resets  the  shutter  for  the 
next  exposure. 


The  new  Super-Kodak  Six-20 


The  shutter  carries  slow  speeds  of  1/10, 
1/5,  1/2  and  1  second,  as  well  as  snapshot 
speeds  from  1/25  to  1/200  second,  and  a 
built-in  self-timer  device  offers  a  delayed 
action  interval  of  approximately  12 
seconds. 

A  galvanometer  dial  on  the  lens  hous- 
ing permits  selective  readings  of  light 
and  shadow  areas  in  a  scene,  as  with 
a  photo-cell  exposure  meter,  and  for 
special  effects  the  lens  diaphragm  may 
be  adjusted  by  hand. 

The  radical  technical  advances  incor- 
porated into  the  Super  Kodak  are  com- 
bined with  unique  design  which  sets  a 
new  standaid  of  functional  beauty. 
Smoothly  contoured,  admirably  balanced, 
simple  in  appearance,  it  combines  the 
demands  made  by  its  mechanism  with 
careful  provision  for  ease  and  conveni- 
ence of  operation. 

The  body,  back  and  range-view-finder 
housing  are  die-cast  of  special  aluminum 
alloy  for  maximum  strength  plus  light- 
ness. Beaded  borders,  finished  in  polished 
chromium,  contrast  well  with  the  larger 
satin  finished  metal  areas.  The  body 
covering  is  fine  quality  black  morocco 
grain  leather,  and  lugs  for  hand  or  neck 
straps  are  provided. 

Rigid  Lens  and  Shutter 
Slight  pressure  on  the 
bed  release  allows  the 
user  to  draw  the  camera 
front  forward  until  it 
locks  in  picture  taking 
position.  Front  extension 
struts  of  new  design  sup- 
port the  lens  and  shutter 
assembly  with  girderlike 
rigidity. 

Held  in  picture  taking 
position,  it  fits  the  left 
hand  comfortably,  leaving 
the  thumb  and  index 
finger  free  for  focusing. 
The  index  finger  of  the 
right  hand  i-ests  on  the 
shutter  release,  built  to 
slide  toward  the  user  with 
a  smooth,  triggerlike 
action. 

Technically  Correct 
When  the  camera  is 
held  for  a  vertical  pic- 
ture the  range-finder  is  at 
the  top.  Just  below  it  is  a 
multiple  collective  lens, 
with  the  sensitive  photo- 
cell behind  it.  This  mul- 
tiple lens  is  so  calculated 
that  it  covers  the  exact 
field  of  the  camera  lens 
— an  important  feature, 
in  that  it  causes  the  photo- 
cell to  react  only  to  the 
light  conditions  in  the  pic- 
ture scene. 


At  the  moment  the  shutter  is  released 
the  photo-cell  actuates  the  galvanometer 
in  the  lens  housing  and  the  diaphragm 
adjusts  to  the  correct  aperture  at  the 
chosen  shutter  speed  to  produce  a  tech- 
nically correct  negative. 

The  shutter  speed  scale  is  seen  through 
a  window  on  top  of  the  hood  which  pro- 
jects over  the  bellows  and  lens.  Adjust- 
ment is  made  by  turning  a  knurled  knob 
at  the  left  of  this  hood.  When  the  shut- 
ter is  tripped  a  red  warning  dot  appears 
in  this  window  to  indicate  that  film 
should  be  wound. 

Design  of  the  range-finder  is  unique. 
In  the  square  field  of  the  view  finder  ap- 
pears the  range-finder's  triangular  split 
field.  The  triangle  is  as  brilliant  as  the 
remainder  of  the  view. 

A  lever  on  the  back  of  the  camera 
controls  the  film  winding.  This  lever 
folds  down  into  the  camera  body  out  of 
the  way  and  locks.  Its  first  upward 
stroke  resets  the  shutter  and  uncovers 
the  film  number  window.  A  few  subse- 
quent strokes  advance  the  film  into  posi- 
tion for  the  next  picture. 

Eight  Pictures 

Despite  all  these  operating  conven- 
iences and  technical  safeguards,  the  cam- 
era is  not  bulky.  It  is  approximately 
the  same  size  as  a  conventional  Six-20 
Kodak.  It  takes  eight  pictures,  21^x3^4 
inches,  on  a  roll  of  Six-20  film,  and  its 
lens  is  a  newly  calculated  Kodak  Anas- 
tigmat  Special  f.3.5,  closing  down  to 
f.22. 

Made  for  the  photographer  who  would 
rather  be  sure  of  perfect  pictures  than 
guess  at  exposures,  the  instrument  is 
a  logical  extension  of  George  Eastman's 
idea  that  a  camera  should  be  made  as 
easy  to  use  as  a  lead  pencil.  The  user 
focuses  and  shoots. 

If  he  changes  his  shutter  speed  for  a 
later  picture,  the  coupled  photo-cell  and 
diaphragm  galvanometer  automatically 
compensate  with  a  larger  or  smaller 
lens  opening.  Changes  of  light  on  an 
intermittently  cloudy  day  shifts  from  a 
brilliantly  lighted  scene  to  a  shady  spot, 
the  need  of  quick  change  from  a  slow  to 
a  rapid  shutter  speed — all  these  varia- 
tions are  instantly  equalized.  Yet,  if 
the  user  wishes  to  underexpose  for  a 
certain  pictorial  effect,  or  use  a  large 
lens  opening  to  focus  out  an  obtrusive 
background,  he  can  push  a  single  lever 
and  convert  the  camera  into  a  conven- 
tional focusing  type.  Retraction  of  the 
same  lever  returns  it  to  its  "Super" 
status. 

Retail  price  of  the  Super  Kodak  Six- 
20  is  $225.  It  is  expected  to  reach  deal- 
ers in  August. 


August,  1938    •    American  Cinematographer  335 


Hollywood  Motion  Picture  Forum 
Holds  Successful  Fourth  Meeting 

In  Eight  Sessions  Across  Two  Days  Visual  Educationists 
Look  Upon  Nearly  Twoscore  Subjects  Majority  of  Which 
Fall  in  Their  Field — Increased  Photographic  Skill 
Among  Amateurs  Reflected  in  Advancing  Quality 
of  Product  Designed  for  School  Use — Dinner 
Speakers  of  Influence  Promise  All  Aid 
Possible  in  Helping  Educationists 


THE  Fourth  Annual  Educational 
Conference  of  the  Hollywood 
Motion  Picture  Forum  was  the 
most  successful  of  the  series  in  attend- 
ance and  interest.  It  was  held  July  15 
and  16.  Excepting  the  luncheons,  four 
sessions  were  held  Friday  and  four  ses- 
sions Saturday. 

Friday  the  morning  session  was  at 
the  Melrose  School.  The  2  o'clock  ses- 
sion was  at  the  Auditorium  of  the  R.  C. 
A.  Manufacturing  Company,  the  4  o'clock 
at  the  Bell  and  Howell  Auditorium,  and 
the  7:30  showing  at  the  Melrose  School. 

On  Saturday  the  forenoon  and  early 
afternoon  sessions  were  at  Melrose,  the 
4  o'clock  at  the  Bell  and  Howell  Audi- 
torium, and  the  informal  dinner  in  the 
evening  at  the  Victor  Hugo  Restaurant 
in  Beverly  Hills. 

That  was  a  full  program.  Under  the 
experienced  direction  of  Walter  Evans, 
secretary  of  the  forum,  the  program 
moved  by  the  clock.  Each  session  started 
on  time  and  so  finished. 

Speeches  Few — but  "Great." 

Without  minimizing  the  interest  at- 
taching to  any  of  the  sessions  it  may  be 
said  the  dinner  Saturday  evening  topped 
the  steady  array  of  features  that  had 
been  set  up  for  the  entertainment  and 
instruction  of  the  guests. 

Speeches  intentionally  were  held  at  a 
minimum,  but  the  restriction  in  no  man- 
ner interfered  with  the  volume  of  qual- 
ity— -or  with  the  brimming  enjoyment  of 
the  quips  bandied  between  President 
Bruce  Findlay,  toastmaster;  Congress- 
man Jerry  Voorhis  of  Los  Angeles,  who 
during  the  day  had  been  with  President 
Roosevelt's  party  in  its  parade  in  Los 
Angeles  and  its  run  over  the  road  to 
San  Diego;  Dr.  Vierling  Kersey,  super- 
intendent of  Los  Angeles  schools,  and 
John  Anson  Ford,  supervisor  of  Los  An- 
geles County,  also  a  member  of  the 
presidential  party  to  San  Diego. 

Here  was  a  quartet  that  meant  much 
to  the  cause  of  visual  education,  which 
after  all  is  the  foundation  on  which  the 
Motion  Picture  Forum  is  based.    It  was 


By  GEORGE  BLAISDELL 

the  civic  side  as  represented  by  the 
toastmaster,  the  national,  the  side  of  the 
schools,  and  the  legislative. 

If  there  were  an  abundance  of  fun 
following  the  ribbing  of  and  by  the  prin- 
cipal speakers,  there  also  was  more  than 
an  equal  share  of  tense  attention  to  all 
of  the  four  in  those  minutes  when  they 
talked  of  the  importance  of  visual  educa- 
tion to  state  and  nation  and  to  the  world 
at  large.  Each  pledged  himself  to  do 
his  best  to  further  its  interest. 

The  hundred  and  fifty  to  whom  the 
speakers  talked  were  representative  of 
all  walks — of  the  educational  principally, 
from  teachers  to  principals  and  school 
officials;  of  business,  of  exploration  and 
of  citizens  of  influence. 

Among  the  walks  represented  was  that 
of  the  Church  in  the  person  of  Abbe 
Charles  Meeus,  of  the  Catholic  Mission 
in  Haimen,  China,  who  had  just  returned 
from  there  bringing  with  him  several 
hundred  feet  of  film  showing  rescue 
work  around  the  mission  as  a  result  of 
the  shocking  human  destruction  in 
China,  among  others  of  Boy  Scouts  sav- 
ing children  and  of  the  work  of  rehabili- 
tation. 

.ludson  Picture  Rare. 

In  the  nearly  twoscore  pictures  shown 
during  the  eight  sessions  of  the  confer- 
ence there  were  many  that  stood  out 
among  the  class  of  unusual.  It  hardly 
will  be  fair  to  mention  these,  as  this 
writer  was  not  among  those  who  saw 
all  of  them. 

He  did,  however,  see  "Design  of  an 
Ideal,"  in  Kodachrome  and  synchronized, 
photographed  by  Frank  Judson  of  the 
Art  Center  School.  This  is  a  remarkable 
picture,  in  conception,  most  certainly — 
in  preparation — and  likewise  in  execu- 
tion. The  photography,  too,  was  of  un- 
usual quality,  and  then,  to  make  that 
seem  more  notable,  it  was  projected  on 
the  new  Bell  and  Howell  16mm.  1200 
watt  projector. 


The  editor  makes  a  pledge  to  the 
readers  of  this  magazine  that  if  it  be 
in  his  power  and  he  be  not  stopped  by 
Frank  Judson  he  is  going  to  tell  them 
quite  some  more  about  this  unusual  film, 
which  in  brief  is  the  story  of  the  plan- 
ning and  building  of  a  miniature  civic 
center. 

One  of  the  big  sessions  was  that  at 
the  R.  C.  A.  Auditorium,  at  which  A.  C. 
Lindquist,  representing  the  R.  C.  A.  en- 
gineering staff,  discussed  and  demon- 
strated the  advance  in  studio  research 
and  technique  in  recording  sound.  He 
went  back  into  what  seems  now  the 
archaic  period,  back  to  1902  if  we  recall, 
where  the  phonograph  did  not  possess 
so  great  a  spread  as  measured  in  piano 
octaves. 

There  were  some  remarkable  present 
day  examples,  however,  to  offset  the 
records  and  phonographs  of  more  than 
thirty  years  ago.  To  the  layman  it  is 
interesting  to  note  the  subjects  selected 
by  the  sound  engineers  when  demon- 
strating their  conception  of  the  last  word 
in  sound  recording.  It  is  quite  certain 
the  layman  is  going  to  remark  "That 
surely  suits  me." 

See  Notes,  Hear  Music. 

Among  these  subjects  perhaps  the 
most  interesting  were  the  screened 
showing  of  the  sound  track  on  running 
film  simultaneously  with  the  audible 
recording  of  "The  Sorcerer's  Appren- 
tice." Leopold  Stokowsky  and  the  Phila- 
delphia Orchestra  were  creating  the 
music  and  Stokowsky  also  was  doing  the 
mixing  on  the  rerecording.  But  that's 
another  story. 

The  visible  record  was  shown  twenty 
frames  in  advance  of  the  music,  but  as 
this  writer  was  seated  in  the  rear  of  the 
hall  much  of  this  must  have  been  com- 
pensated to  his  ears.  In  the  more  fren- 
zied passages  of  the  audible  music  it  was 
plainly  to  be  seen  the  visible  recordings 
were  equally  as  excited.  It  was  a  rare 
treat. 

Other  subjects  were  the  music  for 
"The    Dance    Macabre,"    conducted  by 

( Continued  on  Page  351 ) 


336     American  Cinematographer    •    August,  1938 


^^^^ 

\  ■ 

i 

Here 


s  a 


Optipod  mounted  on  tri- 
pod peimitfi  movie  pano- 
rama or  tilt  for  minicams 
when  takinn  vertical  pic- 
tures. 


Tins  beanpole  tripod  was 
built  at  pi-actically  no  cost 
with  three  iVz-foot  legs,  a 
bakelite  disc,  a  strip  of 
brass  and  several  bolts 
until  thumbscrews. 


Each  tripod  leg  is  bolted 
to  an  inverted  U-shaped 
support.  Adjustment  is 
made  by  means  of  thumb- 
screw shown.  Note  lugs 
soldered  between  U-sup- 
ports  to  give  further 
rigidity. 


Underside  of  tripod  show- 
ing the  flattened  tops  of 
tripod  legs.  Only  brass 
stripping  and  brass  nuts 
and  bolts  are  used  to  pre- 
vent rust. 


Homemade 
Bangaround 
Beanpole  Tripod 
For  Car  or  Canoe 


IY  YOU  ever  graduate  into  the  class 
of  tripod-luggers,  here's  an  inex- 
pensive, easily  built,  "beanpole"  tri- 
pod that'll  take  an  awful  lot  of  banging 
around. 

All  you  need  to  start  with  are  three 
broom  handles  or  similar  wooden  legs,  4 
or  4'/^  feet  long  and  about  1  inch  in 
diameter.  Drive  nails  in  the  bottom  of 
each  leg,  snip  off  the  heads,  file  blunt, 
then  wrap  a  short  length  of  wire  just 
above  each  metal  "toe"  to  prevent  pos- 
sible splitting  of  the  wood. 

Next,  cut  a  3-inch  circle  of  bakelite, 
*/4  inch  thick,  and  drill  four  holes — one 
in  the  center  for  the  tripod  screw,  and 
the  three  others  equally  spaced  around 
the  edge  to  take  bolts  for  the  tripod  leg 
supports. 

Each  of  the  three  leg  supports  is  bent 
into  an  inverted  "U"  from  a  4-inch  strip 
of  %-inch  brass,  %-inch  thick.  The  bend 
in  the  U  is  1  inch  wide,  while  the  sides 
extend  down  IV2  inches.  Each  tripod 
leg  is  fastened  to  a  U-support  with  1^/^- 
inch  bolts,  tightened  with  thumb  screws. 
Thumb  screws  are  ideal,  for  they  per- 
mit the  legs  to  be  moved  freely  in  any 
position.  Once  tightened,  it  is  impossible 
for  the  legs  to  slip  even  on  highly  pol- 
ished surfaces. 

The  brass  leg  supports  are  bolted 
permanently  in  the  base  of  the  tripod 
head,  with  bolt  heads  countersunk.  Small 
1%-inch  brass  strips  are  soldered  be- 
tween each  U-support  to  provide  greater 
rigidity. 

The  camera  may  be  mounted  atop  the 
head,  or  an  auxiliary  optipod  may  be 
employed  to  permit  minicams,  for  in- 
stance, to  be  tilted  for  either  horizontal 
or  vertical  pictures,  or  movie  cameras 
to  follow  moving  objects  by  means  of 
panoraming. 

While  tripods  of  varying  height  may 
be  constructed  by  merely  altering  leg 
length,  it  will  be  found  that  the  4^2 -foot 
height  is  ideal  for  general  shooting.  This 
size  will  fit  any  car  or  pack  away  be- 
sides the  gunwales  of  any  canoe.  Un- 
like the  more  expensive  tripods,  the  var- 
nished legs  of  the  homemade  tripod  may 
be  set  down  in  lake  or  river  for  filming 
fish  action  without  fear  of  ruining  equip- 
ment. 


August,  1938    •    American  Cinematographer  337 


Make-up  as  Aid  to  Amateurs  Is 
Described  by  V eteran  Specialist 


yl  LMOST  every  amateur  moviemaker 
f-\  can  look  back  to  the  days  when 
he  was  a  novice  in  cinematography 
and  remember  things — commonplace  now 
— which  once  seemed  to  offer  enonnous 
difficulty.  Interior  lighting — the  use  of 
filters — even  correct  exposure  seemed 
a  problem  until  it  was  learned  that  they 
could  be  mastered  by  understanding  a 
few  simple  principles. 

Today,  an  increasing  number  of  ama- 
teur moviemakers  are  adding  make-up 
to  this  list  of  mountains  that  turned  out 
to  be  mole-hills.  For  make-up  is  a  prob- 
lem only  to  those  who  do  not  understand 
the  few  basic  rules  for  its  application. 

The  starting  point  for  any  discussion 
of  make-up  should  be  a  clear  under- 
standing of  why  it  is  used.  Disregarding 
"character"  make-up  which,  though  ex- 
tremely interesting,  is  quite  as  much  a 
special  purpose  artifice  as  is,  for  in- 
stance, double  exposure,  make-up  is 
ordinarily  employed  simply  as  a  means 
of  making  subjects  photograph  more 
attractively — and  more  naturally — than 
they  would  otherwise. 

It  has  often  been  compared  to  the 
retouching  of  a  still  photographer's  por- 
trait negatives,  for  both  cover  up  blem- 
ishes in  facial  skin  textures  and  color- 
ing. 

Like  retouching,  make-up,  if  applied 
crudely  or  excessively,  can  do  more 
harm  than  good.  So  the  first  rule  of 
make-up  must  be  to  apply  it  as  lightly 
and  delicately  as  possible. 

A  make-up  that  makes  the  actor  feel 
as  if  he  was  wearing  a  mask  is  a  bad 
one;  not  only  will  it  have  a  bad  psy- 
chological effect  upon  the  actor,  but  it 
will  photograph  badly.  A  make-up 
should  be  only  barely  heavy  enough  to 
cover  the  face;  the  actor  should  be 
almost  unconscious  of  its  presence. 

Contrast  to  Coloring 

For  the  same  reason  a  make-up  should 
be  smooth.  It  should  present  an  even 
overall  texture  and  blend  smoothly  into 
the  hair-line,  neck,  throat  and  other 
areas  which  are  not  made  up,  so  that 
on  the  screen  the  actor  does  not  appear 
to  be  made  up. 

Since  make-up  paints  a  concealing 
covering  over  blemishes  in  facial  texture, 
including  some  which  express  themselves 
in  color,  logically  we  may  expect  to  be 
able  to  use  make-up  to  control  the 
photographic  rendition  of  facial  color- 
ing as  well. 

Not  only  can  we  do  this,  but  we  can, 
by  controlling  the  tone  of  the  make-up. 


By  MAX  FACTOR 

produce  a  photographic  result  which 
enhances  the  black  and  white  rendition 
of  the  player's  natural  coloring. 

Your  last  summer's  vacation  pictures 
probably  hold  the  key  to  how  and  why 
this  is  done.  Do  you  remember  how 
unexpectedly  blond  those  sun-tanned 
blonds  appeared  in  your  films?  The 
darker  tone  of  their  tanned  faces  simply 
provided  a  tonal  contrast  which  en- 
hanced the  lighter  shades  of  their  hair. 

Thus,  if  we  are  photographing  a 
blond,  we  can  make  her  seem  more  blond 
and  more  attractive  by  making  her  up 
in  a  relatively  dark  tone.  Similarly,  if 
we  are  photographing  a  brunette,  we 
can  achieve  a  parallel  result  by  using  a 
light-toned  make-up  which  again  gives 
a  definite  contrast  to  the  dark-toned 
hair. 

Applying  Make-Up 

Make-up  must  be  applied  carefully, 
but  this  does  not  mean  it  is  necessarily 
a  time-consuming  or  a  difficult  process. 
And  just  as  important  as  care  is  the 
matter  of  going  through  the  various 
steps  of  making  up  in  their  correct  or- 
der. Applying  an  eye-shadow  after 
powdering,  for  instance,  is  as  illogical  as 
putting  a  negative  in  the  hypo  before 
it  has  been  developed. 

The  start  of  a  good  make-up  is  a 
clean  face.  If  a  woman's,  it  must  be 
free  from  traces  of  street  make-up.  If 
a  man's  it  must  be  smoothly  shaven. 

The  first  actual  operation  in  applying 
a  make-up  is  the  application  of  the  foun- 
dation color.  This  gives  the  face  the 
desired  tone,  and  as  the  name  indicates, 
supplies  the  foundation  of  the  smooth 
texture  desired  for  the  finished  make-up. 

To  apply  the  foundation,  squeeze  about 
one-quarter  of  an  inch  of  the  material 
from  its  tube  into  the  palm  of  the  hand. 
Then  with  the  fingertips  of  the  other 
hand,  thin  it  out,  and  apply  it  in  little 
dots  all  over  the  surface  of  the  face. 
Next,  still  with  the  fingertips,  blend 
these  dots  together,  working  from  the 
center  of  the  face  outward,  to  form  a 
smooth — and  very  thin — coating  all  over 
the  face. 

Finally,  remember  that  in  modern 
make-up  almost  every  operation  should 
be  done  with  a  patting  motion  rather 
than  a  smearing  or  rubbing  one;  this 
eliminates  streaks  and  blotches. 

Shadowing  the  eyelids  is  done  simi- 
larly. A  very  thin  film  of  color  is  ap- 
plied to  the  eyelids,  again  using  the 
fingertips  and  with  a  light  outward  mo- 
tion. The  coloring  should  be  blended 
carefully  upward  and  outward  toward 


the  eyebrows  and  the  outer  edges  of  the 
lids.  No  decided  line  should  be  visible. 

Eyes  and  Eyebrows 

The  eyes  are  accentuated  by  the  use 
of  a  special  eyebrow  pencil.  This  is  done 
by  drawing  a  fine  line  on  both  the  upper 
and  lower  eyelids  just  where  the  lashes 
meet  the  eyelids.  Draw  this  line  from 
the  inside  of  the  eye  outward,  and  ex- 
tend it  the  tiniest  fraction  of  an  inch 
beyond  the  outer  edge  of  the  eye.  This 
line  must  not  be  too  sharp  or  too  well 
defined,  but  blended  or  softened  so  that 
it  suggests  rather  than  reveals  an  actual 
line. 

The  eyebrow  is  one  of  the  most  im- 
portant indicators  of  both  expression 
and  character.  It  should  therefore  be 
made  up  with  great  care.  Carelessly 
made-up  eyebrows  can  change  the  entire 
appearance  of  any  actor,  making  him 
look  bad  tempered,  perpetually  sur- 
prised, or  haughty  without  any  inten- 
tion of  so  doing. 

In  making  up  eyebrows,  the  best  pat- 
tern to  follow  is  that  provided  by  na- 
ture, following  the  natural  fonn  and 
arch  of  the  actual  eyebrow.  In  general, 
a  man's  eyebrows  should  be  less  arched 
than  a  woman's. 

Eyebrows  are  of  course  made  up  with 
the  same  eyebrow  pencil  used  for  lining 
the  eyes.  Draw  fine  hair  lines  in  the 
shape  and  in  the  direction  in  which  the 
hair  naturally  grows.  Begin  the  eye- 
brow line  above  the  inside  corner  of  the 
eyelid,  and  give  it  an  arch  that  is  ap- 
proximately   parallel    with    the  eyelid. 

This  outer  corner  of  the  brow  should 
not  droop  downward  nor  curve  upward. 
Also,  in  making  up  women,  avoid  the 
thin  line  of  a  finely-plucked  eyebrow  if 
you  want  to  retain  character. 

Lip  Make-Up 

Making  up  lips  for  photography  is  in 
many  ways  quite  different  from  apply- 
ing conventional  street  lipstick.  Lip 
rouge  is,  of  course,  a  moist  rouge  I'ather 
than  the  conventional  stick  form,  and  is 
applied  with  a  small  camel's  hair  lip- 
brush.  The  lips  must  be  clean  and  dry 
before  starting. 

In  general,  the  natural  outline  of  the 
lips  should  be  followed,  taking  pains  to 
extend  the  rouge  well  to  the  inside  of 
the  lips  so  that  no  "make-up"  is  visible 
when  the  mouth  is  open  as  in  smiling 
or  talking.  The  traditional  "Cupid's 
bow"  lip  outline  should  be  particularly 
avoided  in  making  up  men. 

(Continued  on  Page  351) 


338     American  Cinkmatographkr    •    August,  1938 


Gadgeteers  Stage  Regular  Parade 
of  Handiwork  at  Los  Angeles  8mm. 


THE  July  meeting  of  the  Los  An- 
geles 8inm.  Club  was  liighlighted 
by  an  exhibition  of  home-built  con- 
trivances that  probably  caused  several 
sleepless  nights  for  members  not  in  the 
gadgeteering  stage.  The  inventiveness  of 
the  contributors  brought  to  the  gather- 
ing an  array  of  expedients  that  took  its 
undivided  attention  and  stimulated  the 
imaginations  of  all  potential  gadgeteers 
present  who  failed  to  provide  to  the  en- 
tertainment and  gave  them  much  food 
for  attempts  to  outgadget  their  asso- 
ciates in  the  future. 

First  prize  was  awarded  to  A.  B.  Cal- 
low for  many  novel  and  finely  inade 
devices.  George  T.  Hewitt  was  winner  of 
the  second  prize,  and  G.  Loren  Foote 
was  given  honorable  mention. 

Several  of  the  home  products  were 
constructed  to  replace  more  expensive 
equipment  now  on  the  market  while  a 
portion  consisted  of  contraptions  that 
were  conceived  by  the  originators  who 
were  unable  to  purchase  counterparts. 

Many  and  varied  were  the  personal 
creations,  ranging  from  rewinds  con- 
verted from  egg  beaters  to  a  home  re- 
versal film  processor  that  only  lacked 
sound  effects  to  reach  the  ultimate  in 
perfection.  The  purpose  of  each  achieve- 
ment was  demonstrated  by  the  builder 
during  the  course  of  the  program. 

An  assortment  of  rewinds  mostly  con- 
structed from  merchandise  manufactured 
for  other  purposes  were  much  in 
evidence. 

Egg  beaters,  emory  wheel  standards 
and  plain  wood  uprights  with  handles 
and  spindles  vied  with  each  other  in 
adaptability  that  might  serve  as  an  in- 
ducement for  the  5  and  10  cent  stores  to 
include  low  priced  movie  accessories  in 
stock. 

Projector  Container 

A  contribution  of  merit  is  a  case  con- 
structed so  as  to  permit  the  projection  of 
moving  pictures  without  the  necessity  of 
removing  the  projector  therefrom.  Tho 
front  and  back  of  the  container  un- 
latched for  quick  removal  bringing  to 
view  a  number  of  film  reels  held  in  place 
on  the  inner  surfaces  by  means  of  short 
spindles,  thus  utilizing  to  good  advan- 
tage all  extra  space. 

The  projector  is  secured  to  the  base 
of  the  remaining  frame,  which  has  suffi- 
cient room  to  permit  loaded  and  take-up 
reels  to  be  snapped  into  position  for 
operating.  A  small  aperture  cut  into  the 
wall  immediately  ahead  of  the  lens  per- 
mitted pictures  to  be  flashed  on  the 
screen  as  usual. 

The  next  attraction  was  a  unipod  of 
unique  design  intended  for  table  top 
photography  or  for  shooting  from  the 


By  ROBERT  W.  TEOREY 


floor.  An  L  shaped  piece  of  strap  metal 
served  as  the  tilting  unit.  This  was 
fastened  by  the  short  end  to  the  camera 
base  by  means  of  a  thumbscrew,  while 
the  long  end  was  in  a  vertical  position 
at  the  side  of  the  camera,  which  was  a 
Keystone. 

A  hole  drilled  in  this  section  near  the 
camera  center  permitted  a  standard  of 
the  same  material  to  be  secured  to  it  by 
means  of  a  wing  nut  and  short  bolt.  The 
lower  end  of  the  standard  was  bolted  to 
a  circular  base  of  heavy  metal. 

By  loosening  the  wing  nut,  the  camera 
could  be  tilted  to  any  angle  including 
the  up-side-down  so  necessary  when  film- 
ing reversed  action  shots.  A  bright  plat- 
ing set  off  a  very  fine  job  of  machine 
work. 

Ingenious  Viewer 

Fertile  minds  provided  film  reviewers 
of  inexpensive  materials  and  one  particu- 
larly original  viewer  employed  a  flash- 
light bulb  and  battery  to  illuminate  the 
film,  while  an  ordinary  magnifying  glass 
of  small  diameter  served  to  enlarge  the 
frames  for  easy  identification. 

The  light  bulb  was  situated  in  a  small 
wooden  inclosure  to  the  left  of  the  splicer 
and  in  line  with  the  rewinds.  The  battery 
was  secured  to  the  rear  on  the  editing 
base.  The  viewing  glass  was  contained  in 
a  hard  rubber  housing,  which  was  hinged 
to  the  light  container  and  could  be  tilted 
to  the  rear  to  permit  the  insertion  of  film 
over  the  source  of  illumination.  When 
brought  forward  into  position  for  view- 
ing it  automatically  switched  on  the 
current. 

Light  control  switches  built  on  a  Bell 
and  Howell  projector  pointed  to  a  method 
of  operating  the  motor  independent  of 
the  projection  lamp  during  rewinding 
after  projecting  pictures,  thus  saving  on 
the  life  of  the  costly  lamp. 

Three  toggle  switches  were  vertically 
inset  in  the  projector  base.  The  upper 
controlled  the  lamp,  which  could  be 
turned  on  only  when  the  motor  and  fan 
were  in  operation.  The  lower  operated 
the  motor,  while  the  center  one  was  to 
be  used  on  a  pilot  lamp  to  be  added  later. 

Reversal  Developer 
A  noteworthy  contribution  for  fans 
interested  in  processing  their  own  film 
was  a  home  reversal  developer  with  its 
own  motive  power.  A  large  metal  drum 
having  a  spiral  of  wire  wound  about  it 
with  a  spacing  of  slightly  more  than 
16mm.  served  to  hold  the  film  for  process- 


ing. A  shaft  running  through  the  axis 
of  the  cylinder  held  it  in  place  on  two 
standards  of  a  wooden  frame. 

A  large  wood  pulley  attached  to  one 
end  of  the  shaft  was  connected  by  a  belt 
to  a  tiny  electric  motor,  which  slowly 
revolved  the  unit  giving  the  operator 
freedom  to  follow  other  pursuits  while 
the  film  developed.  A  shallow  metal  pan 
under  the  drum  held  the  chemical 
solution. 

Title-conscious  members  derived  much 
enlightenment  from  examining  a  titler 
made  from  several  pieces  of  scrap  lumber 
that  made  possible  the  filming  of  a 
number  of  title  sizes  through  the  use  of 
supplementary  lenses  of  various  focal 
lengths  and  a  movable  easel.  A  short 
length  of  wood  served  as  the  base  with 
a  short  strip  fastened  to  one  end  lo 
align  the  camera. 

A  wooden  standard  with  lens  aperture 
and  vertical  grooves  for  substitution  of 
diopter  lenses  procured  from  spectacles 
were  secured  to  the  base  in  front  of  the 
moviemaker.  A  square  of  wood  was  used 
as  the  easel.  This  had  two  .short  strips 
of  wood  fixed  to  the  lower  edge  and 
spaced  to  the  width  of  the  base  board 
which  allowed  the  upright  to  be  set  at 
any  distance  from  the  camera  without 
becoming  out  of  line. 

A  clever  contrivance  for  filming  small 
objects  at  variable  close  ranges  was 
demonstrated  by  another  creative  mem- 
ber. Several  auxiliary  lenses  and  a  slid- 
ing easel  made  this  possible.  A  short 
length  of  metal  tubing  with  a  fixed  seat 
at  one  end  for  the  camera  allowed  a 
metal  rod  to  be  inserted  into  the  other 
end  and  secured  by  a  set  screw. 

An  oblong  metal  easel  attached  at  the 
exposed  end  of  the  rod  could  be  slid  out 
to  the  exact  distance  required  by  the 
supplementary  lens  to  be  used.  Objects 
centered  within  the  plane  of  the  framing 
easel  were  then  in  focus. 

Callow  Top  Winner 

Of  course  gadget  night  at  the  club  had 
the  stimulating  attraction  of  a  prize 
offer  to  the  owner  of  the  best  attempt 
submitted  and  the  originator  of  a  varied 
assortment  of  contributions,  A.  B.  Callow, 
walked  off  with  the  donation  safely 
tucked  in  his  pocket. 

A  great  deal  of  overtime  "gadgeteer- 
ing" had  evidently  been  undertaken  by 
this  member  and  the  workmanship  shown 
in  the  construction  of  his  gadgets  had 
all  the  earmarks  of  a  well-appointed  cine 
workshop. 

The  first  presentation  of  this  builder 
was  a  tripod  and  tilthead  constructed  in 
the  conventional  manner  with  exception 
(Continued  on  Page  3i9) 


August,  1938    •    American  Cinematographer  339 


Fisual  Educator  A4 ust  Keep  Pace 
with  Rapid  Advance  of  Projector 

By  H.  W.  REMERSCHIED 

Western  Manager  of  Bell  and  Howell 
From  Paper  and  Demonstration  before  Hollywood  Motion  Picture  Forum 


DURING  the  past  few  years  there 
has  been  a  decided  increase  in  the 
use  of  motion  pictures  for  educa- 
tional purposes,  and  the  trend  in  this 
direction  has  been  so  rapid  that  some  of 
us  may  have  lost  sight  of  the  tremen- 
dous advances  that  have  been  made  by 
the  manufacturers  of  projectors  to  keep 
pace  with  the  ever-increasing  require- 
ments. 

I  shall  refer  only  to  projection,  be- 
cause the  projector  is  the  visual  educa- 
tor's major  working  tool,  and  upon  its 
successful  operation  is  dependent  the 
failure  or  success  of  the  subject  matter 
being  projected. 

It  is  therefore  somewhat  essential 
that  the  visual  education  teacher  know 
something  about  the  refinements  the  pro- 
jectors have  undergone  within  the  last 
few  years. 

To  furnish  you  with  some  idea  of  the 
development  in  projectors,  I  should  first 
like  to  project  on  the  screen  the  light 
emanating  from  a  200-watt  50-volt  lamp 
which  was  the  first  type  of  lamp  used 
in  the  16mm.  projectors,  and  which  were 
in  use  during  1922  to  1928. 

250,  Then  375  Follow 

This  lamp  was  followed  by  a  250-watt 
50-volt  lamp,  which  was  placed  on  the 
market  in  March,  1928,  and  also  a  375- 
watt  lamp  which  came  into  prominence 
in  1931.  We  shall  not  take  the  time  to 
demonstrate  the  brilliance  of  these  two 
lamps  because  they  acted  only  as  step- 
ping-stones to  the  more  popular  400- 
watt  100-volt  lamp,  which  came  into 
prominence  in  December  of  1931. 

I  have  not  taken  a  foot  candle  read- 
ing, which  would  acquaint  you  with  the 
exact  comparison  between  the  200-watt 
and  the  400-watt,  but  it  is  obvious  that 
the  difference  is,  as  it  should  be,  ap- 
proximately 100  per  cent. 

Following  the  400-watt  lamp  came  the 


500-watt,  which  was  developed  in  1933. 
I  might  mention  that  the  development 
of  this  particular  lamp  was  considered  a 
major  achievement,  and  it  was  the  opin- 
ion at  that  time  that  the  500-watt  lamp 
was  the  ultimate  because  we  were  now 
experiencing  a  heat  condition  which  had 
already  necessitated  the  redesigning  of 
the  cooling  mechanism  in  the  projectors. 


While  the  500-watt  lamp  was  consid- 
ered the  ultimate,  it  was  only  a  matter 
of  another  year,  or  until  1934,  before 
the  750-watt  lamp  was  developed.  I 
should  now  like  to  make  a  comparison 
between  the  400-watt  and  the  750-watt, 
as  by  so  doing,  we  again  double  the 
screen  brilliance  over  the  original  200- 
(Continxed  on  Page  350) 


Four  Bell  &  Howell  projectors  left  to 
right,  models  of  1928,  1932,  1935,  1938. 
Comparative  screen  illumination  of  the 
four:  Upper  left,  scarcely  discernible, 
50v.  200  watt  1928;  lower  left,  llOv.  AOO 
watts  1932;  lower  right,  lOOv.  750  watt 
1935,  upper  right,  lOOv.  1200  watt  1938. 
H.  W.  Remerschied  at  left. 


340     American  Cinematographer    •    August,  1938 


Nothing  Mysterious  About  Filters 
but  Don  y  Use  Too  Many  at  First 


To  THE  average  photographer  the 
use  of  filters  is  either  avoided,  or 
at  best  approached  in  the  light  of 
an  experiment.  There  is  really  nothing 
mysterious  or  difficult  about  them,  and 
surprisingly  pleasing  results  may  be  ob- 
tained with  one  or  two  simple  filters  at 
first. 

Too  many  aspiring  photographers 
have  been  frightened  by  the  complicated 
and  intricate  text  book  explanations.  It 
is  granted  that  the  physics  of  light  and 
filtering  of  light  in  the  photographic 
process  is  not  easily  understood,  but 
such  prior  knowledge  may  be  considered 
as  useless  as  that  of  knowing  the  me- 
chanics of  an  auto  before  learning  to 
drive  it. 

Movie  as  AVell  as  Still 

Using  filters  when  filming  close-ups 
opens  a  new  field  for  the  amateur.  The 
tonal  rendition  and  "feel"  of  the  close- 
up  may  be  widely  varied,  according  to 
the  results  desired. 

Some  persons  have  skins  that  photo- 
graph chalky  white,  while  others  go  too 
dark.  Much  may  be  done  to  correct  this, 
or,  in  filming  sub-normal  productions, 
deliberately  to  distort  by  making  the 
"heavy"  seem  more  swarthy  and  vil- 
lainous through  the  aid  of  a  filter. 
No  Hard  and  Fast  Rule 

The  choice  of  filters  depends  on  the 
effect  desired,  and  no  hard  and  fast  rule 
can  be  given  when  using  them.  Only 
one  thing   is  to  be  watched.  Filters 


By  EARL  THEISEN 

Picture  Editor  Look  Magazine 


require  an  increase  in  exposure  because 
they  "take  out"  some  of  the  light  pass- 
ing through  them. 

This  exposure  increase  is  known  as 
the  "factor"  and  means  nothing  more 
than  the  amount  of  additional  light  re- 
quired to  make  a  good  exposure.  A 
"factor"  of  2  means  that  one  more  stop 
exposure  is  required  to  get  a  normal 
exposure,  while  a  factor  of  4  means  two 
stops  more  are  required,  a  factor  of  5 
requiring  two  and  a  half  stops,  etc. 

One  of  Two  Things 

F'ilters  always  do  one  of  two  things: 
they  make  the  subject  photograph 
either  lighter  or  darker,  depending  on 
the  subject's  color.  Using  a  green  filter 
will  make  everything  that  is  its  own 
shade  of  green  photograph  lighter,  while 
reds  and  most  other  colors  go  darker. 

This  is  true  of  all  filters.  Generally 
speaking,  all  filters  make  their  own  col- 
ors photograph  lighter,  while  other  col- 
ors that  are  absent  or  minus  in  the  filter 
go  darker.  A  red  filter  will  cause  reds 
to  seem  whiter,  while  greens  and  blues 
will  photo  dark. 

Hence,  a  red  filter  will  hold  back,  or 
absorb,  as  it  is  known,  the  blue  in  the 
sky  and  make  it  go  dark  with  more  de- 
tail in  white  clouds,  while  at  the  same 
time  making  the  reds  photograph  a 
lighter  tone. 

Using  a  green  filter  for  a  close  up 
will  make  the  red  lips  seem  darker  and 
the  contours  and  modeling  of  the  face 


deeper  and  more  pronounced  with  a  good 
skin  tone,  although  the  freckles  will 
have  a  tendency  to  .show  up.  The  gen- 
eral effect  is  that  gained  by  portrait 
studios  using  ortho  film  without  a  filter. 
Lips  Photograph  Light 
The  high  speed  super-sensitive  pans 
which  have  a  high  red  sensitiveness 
without  filters  make  the  lips  photograph 


Figure  1 


quite  light  and  there  is  a  general  loss 
in  delicate  skin  tone.  A  green  filter  ma- 
terially remedies  this,  although  personal 
preference  may  consider  this  filter  too 
harsh  with  this  film.  If  so,  a  G  will 
do  much  to  improve  the  face  modeling, 
not  changing  materially  the  lip  re- 
production, although  the  skin  texture 
will  have  a  tendency  to  be  lighter. 

On  the  other  hand  it  may  be  desir- 
able to  have  the  close-up  face  seem 
lighter,  particularly  if  the  person  being 
photographed  has  a  heavy  tan  or  bad 
skin  blemishes.  A  23A  or  red  filter  or 
its  equivalent  will  give  a  very  white 
face  with  light  lips.  If  this  filter  is 
used  it  would  be  advisable  to  add  a  bit 
of  color  to  the  lips,  such  as  blue  or  brown 
eye  shadow  applied  instead  of  the  ordi- 
nary red  lipstick. 

A  purplish  or  brownish  red  lipstick 
will  help  some  to  prevent  the  lips  from 
photographing  too  light.  On  the  whole 
a  red  filter  will  only  be  used  with  cau- 
tion, since  it  makes  the  eyes  photo  too 
dark  and  the  face  seems  washed  out, 


Figure  2  Figure  3 


August,  1938    •    American  Cinematographer  341 


Figure  U 

giving  something  of  a  "lily-white"  ap- 
pearance. 

A  purple  or  lavender  filter  combines 
the  effects  of  the  red  and  blue  men- 
tioned. This  filter  affects  both  the  red 
and  blue.  For  the  red,  the  filter  has  a 
tendency  to  lighten  lip  coloration. 
From  the  blue  a  darker  reproduction  of 
skin  tones  follows. 

Contrast  Filters 

While  the  general  tendency  of  the 
foregoing  filters,  known  as  contrast 
filters,  is  to  distort,  that  of  such  filters 
as  the  yellow  or  X  filters  is  to  compen- 
sate and  to  give  a  correct  monochrome 
reproduction. 

These  filters  have  little  effect  when 


Figure  5 

filming  close-ups,  being  of  more  use  in 
giving  a  nice  balance  in  tone  values 
rather  than  accentuating  certain  colors 
in  relation  to  others. 

The  tendency  of  the  contrast  filters  is 
to  throw  the  photographic  balance  off  in 
the  favor  of  the  filter  being  used  by 
making  the  photographic  emulsion  blind 
to  other  colors  except  for  the  particular 
filter  being  used. 

Sunlight  differs  from  Mazda  illumina- 
tion, the  artificial  illumination  having 
more  yellow  light  in  comparison  to 
sunlight.  The  Mazda  light  may  thus  be 
considered  as  having  a  light-yellow 
filter  effect. 

When    using   either   a    light  yellow. 


darker  yellow  or  orange  filter  the  effect 
is  progressively  changed.  While  light 
yellow  filter  has  little  effect,  each  in- 
crease in  filter  color  from  the  yellow 
toward  the  red  makes  the  skin  tone  re- 
produce lighter. 

Highlight  and  Shadow 

When  using  a  deep  yellow  or  red  filter 
on  a  bright  sunshiny  day  the  shadows 
will  seem  to  reproduce  darker.  The 
shadows  are  illuminated  from  the  blue 
of  the  sky  by  reflection,  and  the  filter 
will  absorb  this  blue  shadow  light  to 
make  the  difference  between  the  high- 
light and  shadow  of  greater  contrast. 

On  a  color  blind  emulsion  such  as  was 
used  in  the  early  days,  freckles,  blem- 
ishes and  skin  tone  reproduced  exag- 
gerated. Today  the  same  effect,  such 
as  is  seen  in  passport  photos,  could  be 
obtained  with  a  blue  filter. 

It  must  be  remembered  that  filters 
take  something  out  of  the  light  being 
used,  thus  necessitating  an  increase  in 
exposure.  Underexposure  with  a  filter 
tends  to  increase  the  effect  of  the  filter, 
or  to  give  the  same  results  as  if  a  darker 
filter  were  used  with  the  correct  ex- 
posure. 

Overexposure  with  a  filter  flattens  the 
final  picture  and  makes  the  image  seem 
like  a  lighter  colored  filter  were  used. 

Always  use  a  deep  sunshade  when 
employing  a  filter  to  guard  against 
lightflare  or  haze.  Filters  must  be  kept 
dry  and  given  the  same  cleaning  and 
care  given  a  lens. 

Experts  advise  that  the  beginner  do 
not  try  to  master  too  many  filters  at 
first.  Begin  with  a  yellow,  red  and 
green,  finding  out  what  they  will  do. 
Become  accustomed  to  them  just  like  a 
new  auto. 


Los  Angeles  8  mm.  Club 

Has  Crowded  July  Meeting 


The  July  meeting  of  the  Los  Angeles 
8mm  Club,  held  on  the  12th,  was  strongly 
attended.  John  Walter  spoke  for  the  in- 
corporation committee  and  advised  that 
a  further  report  would  be  made  at  the 
August  meeting.  The  social  committee 
reported  that  plans  were  under  way  for 
our  annual  picnic  to  be  held  at  Mineral 
Wells  in  Griffith  Park. 

Prizes  were  then  awarded  to  the  win- 
ners of  the  semi-annual  contest  and  they 
were  as  follows : 

A.  B.  Callow,  first  prize,  consisting  of 
a  film  humidor  for  his  picture  "Neeeded, 
a  Social  Secretary." 

Robert  Teorey,  second  prize,  consisting 
of  geared  rewinds  mounted  on  editing 
board,  for  his  picture  "Golf  Widow." 

Bion  B.  Vogel,  third  prize,  consisting 
of  a  Reynolds  fading  glass  for  his  pic- 
ture "Rise  and  Fall  of  Mary  Margaret." 

Mr.  Flette,  representing  Robert  M. 
Lynn,  distributor  of  motion  picture 
equipment,  introduced  to  the  club  the 


8mm  Ditmar  Camera  and  gave  us  a 
very  capable  explanation  of  its  fine 
features. 

President  C.  G.  Cornell  then  appointed 
a  committee  consisting  of  Dr.  Moore, 
president  of  the  Orange  County  8mm 
Club;  Mr.  Converse  of  the  El  Segundo 
Cinema  Club;  and  our  own  member, 
George  Blaisdell,  to  determine  the  best 
gadgets  shown  at  the  meeting. 

In  the  order  in  which  they  were  pre- 
sented gadgets  were  shown  and  their 
workings  explained  by  members  Pyle, 
Vogel,  Teorey,  Hewitt,  Walter,  Foote, 
Cunningham,  Moore,  Callow,  Niersbach, 
Hague  and  Engles.  The  committee 
awarded  first  prize  of  one  year's  sub- 
scription to  the  American  Cinematogra- 
pher, given  by  that  periodical,  to  Mr. 
Callow  for  his  inany  novel  and  beauti- 
fully made  gadgets.  Second  prize,  one 
Reynolds  fading  glass,  went  to  George 
T.  Hewitt,  and  honorable  mention  to  G. 
Loren  Foote.  The  novel  and  interesting 


gadgets  displayed  exceeded  even  the  ex- 
pectations of  the  officers,  who  visualized 
the  gadget  meeting  as  interesting  but 
not  professional. 

Our  good  friend  Bill  Stull  next  in- 
troduced Bob  King,  ex-president  of  the 
Columbia  Cubs,  and  Miss  Dorothy  Con- 
rad, the  incumbent  president.  They  pro- 
jected and  told  the  history  of  their  35mm 
picture  "Lucky  Piece,"  which  was  most 
interesting.  Hearing  from  Mr.  King  the 
history  of  this  production  from  its  con- 
ception was  most  educational  to  our 
members. 

We  were  then  treated  to  a  showing  of 
the  winner  of  the  Orange  County  8mm 
Club  annual  contest,  a  black  and  white 
picture  titled  "The  Temptress,"  and  were 
able  to  congratulate  its  youthful  maker, 
Harold  Witt,  who  was  a  guest  at  our 
meeting. 

Miss  Conrad,  Mr.  King  and  Harry 
Babb  were  then  appointed  as  a  commit- 
tee to  judge  the  winner  of  the  pictures 
taken  at  the  outing  in  Hidden  Valley 
and  Mr.  Armstrong  was  awarded  the 
decision  over  Mr.  Hague  in  a  race  which 
could  easily  have  been  a  tie,  so  fine  were 
both  of  these  pictures.  The  prize  was 
another  fading  glass. 

BION  B.  VOGEL,  Secretary 


342     Ameiucan  Cinematographek    •    August,  1938 


Bell  &^  Howell  Introduces  Unique 
J 6mm,  Magazine  Loading  Camera 


INCORPORATING  unusual  features 
for  amateur  moviemakers,  the  new 
Filmo  141,  a  16mm.  magazine  load- 
ing camera  of  unique  design,  made  its 
bow  to  the  market  July  1. 

Features  not  usually  found  in  cameras 
of  this  type  include  the  radically  new 
"projected  area"  viewfinder,  four  camera 
speeds  and  a  single  frame  exposure  de- 
vice opening  up  the  interesting  field  of 
animation  work. 

Operation  is  exceptionally  simple. 
The  beginner  has  but  to  slip  the  ready- 
loaded  film  magazine  into  the  camera, 
close  the  door,  and  he  is  ready  to  shoot 
black  and  white  or  color  film.  The  ad- 
vanced amateur  will  make  use  of  the 
various  speeds,  single  frame  exposures, 
interchangeable  lenses,  critical  focuser, 
etc.,  for  the  more  versatile  effects  he  has 
learned  to  achieve. 

New  Type  Viewfinder 
The  more  radical  departure  from  pre- 
vious design  is  the  "projected  area" 
viewfinder,  a  positive  type  of  viewer 
aimed  to  bring  to  the  amateur  movie- 
maker the  same  ease  and  accuracy  in 
determining  his  field  that  the  Hollywood 
cameraman  has  long  used  on  professional 
cameras. 

Briefly,  the  advantages  of  the  new 
viewfinder  are  these:  When  using  the 
conventional  or  negative  type  of  viewer, 
the  operator  inadvertently  will  shift  his 
eye  a  little,  to  one  side  of  the  eyepiece 


or  the  other,  or  up  or  dowTi,  and  as  he 
does  so,  the  field  he  is  centering  will 
change  its  limits  according  to  the  motion 
of  the  eye.  Not  so  with  the  "projected 
area"  viewfinder,  for  the  field  area  image 
is  immobile,  no  matter  what  the  angle 
at  which  the  eye  looks  into  the  eyepiece. 

When  lenses  of  different  focal  lengths 
are  to  be  used  on  the  camera,  the  front 
element  of  the  viewfinder  is  easily  and 
quickly  removed  and  replaced  by  the 
proper  element,  and  herein  lies  a  feature 
which  will  be  important  to  many:  The 
"projected  area"  viewfinder  is  always 
entirely  filled  by  the  image,  regardless 
of  the  focal  length  of  the  lens  in  use. 

There  are  no  masks  to  cut  down  the 
size  of  the  image.  Further,  the  eye- 
piece of  the  viewfinder  is  set  in  a  soft 
rubber  cup,  which  prevents  side  glare 
and  which  also  renders  the  camera  easy 
to  use  by  persons  wearing  glasses.  The 
viewfinder,  as  on  other  Filmo  cameras, 
is  fully  inclosed  within  the  camera 
housing. 

Uses  Eastman  Magazines 

The  Filmo  141  takes  Eastman  film 
magazines,  each  of  which  is  provided 
with  its  own  individual  footage  indicator, 
the  dial  being  plainly  visible  through  a 
window  in  the  camera.  The  magazine  is 
slipped  into  the  camera  through  a  small 
door  at  the  rear,  and  as  an  added  safe- 
guard the  mechanism  will  not  work  until 
the  door  is  properly  closed. 

As   the   magazine  is  withdrawn,  its 


aperture  is  covered  automatically,  pre- 
venting fogged  film.  The  position  of  the 
camera  door  at  the  rear  permits  maga- 
zines to  be  changed,  and  the  soon-to-be 
announced  critical  focuser  to  be  used 
without  removing  the  camera  from  a 
tripod.  The  Model  141  uses  the  regular 
panchromatic  film,  super-sensitive  pan, 
and  Kodachrome  film  for  natural  color. 
Cooke  Lens  Equipped 

A  color-corrected  1-inch  F2.7  Cooke 
lens  is  standard  equipment  on  the  new 
camera  and  since  it  has  the  same  lens 
mount  as  the  Filmo  70,  all  lenses  used 
on  the  latter  cameras  are  interchange- 
able. The  wide  selection  of  lenses  avail- 
able includes  focal  lengths  from  15mm. 
to  6  inches,  with  "projected  area"  view- 
finders  provided  for  each. 

The  mechanism  is  controlled  by  a  gov- 
ernor which,  Bell  &  Howell  claims,  main- 
tains a  constant  rate  of  film  movement, 
thus  insuring  even  exposure  throughout 
the  entire  film  run.  The  shutter  is  of 
the  rotary  type,  giving  uniform  expo- 
sure over  the  entire  frame  area,  and  its 
open  segment  of  133  degrees  gives  an 
exposure  of  l/43d  second  at  16  frames  a 
second. 

The  new  Filmo  will  be  available  in 
two  models,  diff'ering  only  in  the  operat- 
ing speeds.  The  141-A  will  have  speeds 
of  8,  16,  24  and  32  frames  per  second, 
while  the  141 -B  operates  at  16,  32,  48 
and  64  f.p.s. 

The  camera  is  1-15/16  by  3%  by  5% 
inches  and  weighs  39  V2  ounces,  a  pocket- 
full  for  the  overcoat. 


San  Francisco  Cinema 

The  Cinema  Club  of  San  Francisco 
changed  its  place  of  assembly  to  the  audi- 
torium of  Kohler  and  Chase  at  26  O'Far- 
rell  street,  its  first  meeting  being  held 
July  19. 

Jack  Mullin  headed  the  program  with 
"Music  with  Your  Movies."  The  speaker 
has  devoted  much  time  and  effort  to  col- 
lecting recordings  and  adapting  them  to 
films  he  has  made.  He  gave  an  interest- 
ing outline,  based  on  his  own  experience, 
on  hew  to  approach  the  problem  of  sjti- 
chronizing  film  and  music. 

The  "member  film  of  the  month"  was 
accorded  to  the  picture  photographed  by 
the  late  Harry  Miller  of  Burlingame, 
who  passed  away  in  Mexico  shortly  after 
completing  the  film. 

The  vacation  contest  is  on,  open  to 
all  members.  Among  the  requirements 
are  that  the  picture  shall  have  been  made 
this  year,  be  not  longer  than  400  feet  of 
16mm.  or  200  of  8mm.  and  may  be  in 
color.  Contestants  must  submit  subjects 
in  time  to  be  judged  for  the  September 
meeting.    There  will  be  cash  prizes. 


Bell  and  Howell's  new  h'ilnio  iJfl,  lomtn.  magazine  loading  camera,  with  new 
"■projected  area"  viewfinder,  four  camera  speedfi,  single  frame  exposure  device, 
interchangeable  lenses  and  critical  focuser. 


August,  1938    •    American  Cinematographer  343 


THIS  IS  THE  MOVIE  BOOK  YOU'VE  BEEN  WAITING  FOR 


THIS  new  book  is  planned  to 
do  a  definite  job — to  show 
how  easy  it  is  to  derive  the  ut- 
most enjoyment  from  amateur 
movies.  It  picks  up  the  story 
where  instruction  manuals  leave 
off.  But  it  stops  far  short  of  the 
complexities  of  advanced  cine- 
matography. Between  the  two 
falls  the  wide  expanse  of  enjoy- 
able and  trouble-free  movie 
making  and  showing. 

This  is  the  field  covered  in 
lively  fashion  by  How  to  Make 
Good  Movies. 

For  every  movie  maker — and 
for  every  non-movie  maker 
considering  the  possibilities  of 
amateur  cinematography. 

Published  by 

EASTMAN  KODAK  COMPANY 
ROCHESTER,  N.  Y. 


TELLS  ABOUT... 


Camera  Angles 

Close-ups 

Clouds 

Color  Film 

Composition 

Continuity 

Customs 

Duplicates 

Double 

Exposure 
Editing 
Enlargements 
Exposure 
Fades 
Film 

Film  Libraries 
Filters 
Finishing 
Focusing 
Foreign  Travels 
Indoor  Movies 


Lenses 

Lighting 

Panoraming 

Photofloods 

Plays 

Portrait 

Attachments 
Posing 
Projection 
Reverse  Action 
Scenarios 
Scene  Length 
Scenics 

Showing  Movies 
Silhouettes 
Slow  Motion 
Splicing  Film 
Stunts 
Tempo 
Titling 
Trick  Shots 


At  your 
dealer's  late 


More  than  200  pages  crammed  >y 

full  of  helpful  ideas  on  the  talcing 

and  showing  of  trouble-free  home  movies. 


344     American  Cinematographer  • 


August,  1938 


New  series  of  Kodak  Bantams.  Left  to  nght,  Kodak  Bantam  f.8,  Kodak  Bantam  f.U.5  and  Kodak  Bantam  f.5.6. 


Eastman  Adds  Three  Members  to 
Fast  Expanding  Bantam  Family 


THREE  new  members  of  the  Kodak 
Bantam  family — a  Kodak  Bantam 
f.8,  f.5.6  and  f.4.5 — are  announced 
from  Rochester  by  the  Eastman  Kodak 
Company. 

Designed  for  the  amateur  who  wishes 
a  miniature  camera  of  excellent  capa- 
bilities at  moderate  price,  these  cameras, 
each  individually  styled,  supplement  the 
present  Kodak  Bantam  f.6.3  and  the 
Kodak  Bantam  Special  with  f.2  Ektar 
lens. 

Their  lenses  fully  corrected  for  color, 
both  the  f.4.5  and  f.5.6  models  make  ideal 
cameras  for  the  enthusiast  who  has 
yearned  for  a  moderately  priced,  pre- 
cision-built camera  in  which  he  could 
confidently  use  Kodachrome  as  well  as 
black  and  white  film. 

Up  to  1/200 

The  Kodak  Bantam,  with  fast  Kodak 
Anastigmat  Special  f.4.5  lens,  retailing 
at  $27.50,  is  handsomely  designed  and 
sturdily  constructed.  Its  body  and  back 
are  of  strong  die-cast  aluminum  covered 
with  black  morocco-grain  Kodadur. 
Metal  sides  are  finished  in  black  enamel, 
set  off  by  a  quarter-inch  bright  metal 
trim. 

The  self-erecting  front  comes  into 
position  instantly  at  a  touch  of  the  re- 
lease button.  The  revolving  lens  mount 
focuses  from  4  feet  to  infinity,  and  lens 
openings  range  down  to  f.l6.  Shutter 


speeds  include  time,  "bulb,"  1/25,  1/50, 
1/100  and  1/200,  and  the  shutter  release 
is  of  the  body-mounted  plunger  type  for 
extra  convenience  and  steadiness. 

Film  winding  is  controlled  by  the  con- 
venient automatic  centering  mechanism 
used  on  other  Bantams.  An  accessory 
neck  strap  is  available. 

F:8  Has  Eye  Level  Finder 

The  Kodak  Bantam  f.5.6,  to  retail  at 
$16.50,  is  another  attractive,  smartly- 
styled  camera.  Its  front  is  die-cast 
aluminum  finished  in  black  enamel  with 
satined  metal  edges,  which  contrast 
neatly  with  the  polished  black  body.  The 
shutter  provides  speeds  of  time,  "bulb" 
and  1/25,  1/50  and  1/100  second.  Lens 
openings  range  down  to  f.16. 

The  lens  mount  is  satin  finished,  and 
engraved  with  a  focusing  scale  from  4 
feet  to  infinity.  The  front  is  self-erecting, 
coming  smoothly  into  position  at  the 
touch  of  a  button.  A  folding  optical  eye- 
level  view  finder  is  provided,  and  film 
centering  is  automatic. 

The  Kodak  Bantam  f.8,  to  retail  at 
$4.75,  will  supersede  the  present  Kodak 
Bantam  with  doublet  lens.  All  black  with 
bright  metal  controls,  its  attractive 
morocco-grain  surface  molded  into  the 
sturdy  case  makes  secure  holding  easy. 
The  front  comes  smartly  into  position  at 
the  touch  of  a  button. 

There  is  a  folding  open-frame  eye- 


level  view  finder,  and  film  frames  are 
automatically  centered  as  in  the  com- 
panion cameras.  Fixed-focus,  the  Bantam 
f.8  yields  sharp  negatives  of  subjects 
from  five  feet  to  infinity,  and  addition 
of  an  8A  Portrait  Attachment  makes 
snapshots  possible  at  2V2  feet. 

Each  of  the  three  cameras  loads  with 
eight-exposure  rolls  in  the  828  size,  and 
produces  negatives  28  by  40mm.,  which 
are  customarily  printed  2%  by  4  inches 
or  larger. 

When  Kodak  Bantam  f.4.5  or  f.5.6  are 
loaded  with  regular  Kodachrome  K828  or 
Kodachrome  Type  A,  K828A,  the  ex- 
posure instructions  packed  with  the  film 
should  be  accurately  followed. 


New  Six-20  Bull's  Eye 

The  new  Six-20  Bull's  Eye  is  an- 
nounced, equipped  with  a  tubular  eye- 
level  view  finder  of  new  type  incorporat- 
ing a  specially  designed  finder  lens.  It 
is  universal  focus,  and  produces  sharp 
pictures  of  any  object  eight  feet  or 
farther  from  the  camera.  Addition  of  a 
portrait  attachment  permits  snapshots 
of  objects  31/2  feet  away.  The  camera 
body  is  of  sturdy  molded  material,  and 
loads  with  No.  620-size  film,  giving  eight 
21/4x3%  inch  pictures  to  the  roll.  The 
shutter  provides  both  snapshot  and 
"bulb"  action. 


August,  1938    •    American  Cinehwatographer  345 


600  Users  and  Makers  of  School 
and  Business  Films  Get  Together 


IN  ITS  eighth  session  in  Chicago  the 
National  Conference  on  Visual  Edu- 
cation and  Film  Exhibition  drew  a 
gathering  of  over  600  enroUees. 

Outstanding  visual  educators,  motion 
picture  executives,  industrial  film  pro- 
ducers and  representatives  of  various 
commercial  organizations  using  motion 
pictures  met  June  20  to  23  inclusive,  to 
view  the  latest  educational  and  commer- 
cial film  releases. 

Following  each  film  exhibition  was  a 
discussion  in  which  industrial  film  users 
exchanged  their  ideas  with  educational 
visual  heads,  directors  of  visual  depart- 
ments and  others.  A  great  deal  of  im- 
portant information  was  contributed 
along  the  lines  of  production,  distribu- 
tion and  utilization  of  motion  pictux'es 
for  sales,  advertising  and  pedagogical 
purposes. 

Many  Films  Shown 

Among  the  films  exhibited  were  "Ger- 
man North  Sea  Coast,"  by  Fred  Semb  of 
the  German  Railroads,  Chicago;  Fire- 
man's Fund  Insurance  Company's  "Re- 
member Jimmy,"  DeVry  School  Films, 
Social  Security  Board's  "Today's  Fron- 
tiers," WPA's  films  "Hands"  and  "We 
Work  Again,"  International  Harvester 
Company's  "Modern  Education  at  Beav- 
erton  Consolidated  School,"  Borden-Wie- 
land's  "The  Eighty  Years,"  World's 
Peace  Ways'  "Thunder  Over  the  Orient," 
Ford  Motor  Company's  "Making  Safety 
Glass"  and  "Yellowstone  National  Park" 
and  a  large  number  of  other  films  of  the 
Government  documentary  type,  advertis- 
ing, training  and  classroom  study  types. 

Sessions  were  devoted  to  open-foi'um 
discussions  conducted  by  such  authori- 
ties as  Dr.  I.  E.  Deer  of  the  MPPDA  on 
"H  uman  Relations  Films,"  A,  P.  Heflin 
of  Lane  Technical  High  School  on  "Movie 
School  Production  Problems,"  Stuart 
Grant  of  Pure  Oil  Company  on  "Labora- 
tory Problems  in  Film  Production,"  L. 
W.  Cochran  of  the  State  University  of 
Iowa  on  "School  Distribution  and  School- 


George  K.  Spoor,  the  S  of  Essanay  of 
pioneer  days,  congratulate n  Herman  A. 
DeVry  at  the  banquet  celebrating  the 
latter's  completion  of  twenty-five  years 
as  a  manufacturer.  Mr.  Spoor  was  a 
special  guest  at  the  gathering  honoring 
Mr.  DeVry  and  a  feature  of  the  National 
Conference  on  Visual  Education  and 
Film  Exhibition  in  Chicago  June  22. 
Over  300  guests,  including  film  folk,  in- 
dustrial film  executives,  educators,  dis- 
tributors and  others  were  present 

— Metropolitan  News  Photos 


made  Films,"  William  E.  Morse,  County 
Superintendent  of  Schools,  Malad,  Idaho, 
on  "The  County  System  of  Film  Dis- 
tribution;" O.  H.  Coelln,  editor  Business 
Screen,  on  "The  Correlation  of  Educa- 
tional Films  and  Industrial  Problems," 
and  George  Rilling,  superintendent  of 
schools,  Anna,  Ohio,  on  "School  Films." 


Boris  Morros  at  Paramount 
Lectures  to  U.S.C.  Students 

With  the  University  of  Southern  Cali- 
fomia  in  summer  session,  The  Depart- 
ment of  Cinematography  takes  on  an  en- 
tirely different  aspect  than  that  pre- 
sented during  the  regoilar  university 
year.  The  only  two  courses  offered  dur- 
ing the  summer  session  are  the  classes 
in  fundamentals  of  production  and  in 
story  and  continuity.  These  are  both 
conducted  by  Dr.  B.  V.  Morkovin,  head 
of  the  department. 

Most  radical  in  change,  however,  are 
the  students  and  their  attitudes.  Regru- 
lar  students  are  deeply  interested  in 
Hollywood  and  its  methods.  Summer 
school  students  are  mostly  professional 
teachers,  and  they  are  primarily  inter- 
ested in  the  problems  of  audio-visual  edu- 
cation and  the  place  of  the  16mm.  pic- 
ture in  that  set-up. 

Regular  students  greatly  admire  the 


leaders  of  the  Hollywood  field,  while 
teachers  are  inclined  to  cock  their  head 
at  Hollywood  and  start  giving  advice. 
This  situation  has  resulted  in  summer 
school  cinematography  being  nearly  an 
entirely  different  thing  than  the  regular 
university  program,  with  its  aims  and 
objectives  of  complete  co-operation  with 
and  learning  from  the  men  who  grew  up 
in  the  Hollywood  scene. 

On  July  23  Paramount  Studios  and  its 
musical  head,  Boris  Morros,  entertained 
the  U.S.C.  summer  school.  The  class 
met  in  the  sound  theater  of  Paramount 
studios,  where  the  members  received  a 
lecture  and  demonstration  on  "Music  in 
the  Cinema." 

Cinema  Music's  Future 
Mr.  Morros  traced  the  past  of  cinema 
music,  described  and  demonstrated  the 
contemporary  cinema  music,  and  then 
expressed  his  views  as  to  what  he  ex- 
pected would  be  the  future  problems  of 
the  cinema's  directors  of  music.  The 
program  was  highly  instructive  and 
greatly  appreciated. 

Chief  amateur  pi-oduction  of  the  sum- 
mer session  will  be  an  educational  film 
on  Los  Angeles  harbor.  As  yet  untitled, 
the  film  theme  will  revolve  around  the 
harboi-master,  his  duties,  and  the  har- 
bor's importance  to  the  Southern  Cali- 
fornia area. 

This  film  is  being  produced  by  Annette 
G.  Byrne,  member  cf  the  audio-visual 
education  department  of  the  Los  Angeles 
school  system.  It  is  understood  costs  are 
being  borne  by  the  Los  Angeles  school 
system  and  the  university. 

JACK  V.  WOOD,  S.A.C. 


346     American  Cinematographer    •    August,  1938 


How  I  Made  a  1 6mm.  $25  Camera 
Dolly  That  Yielded  Smooth  Shots 

By  J.  ROBERT  HUBBARD 


I WANTED  a  camera  dolly  for  use 
with  my  IGmm.  Filmo.  So  I  made  one. 
I  had  to.  There  were  two  good  rea- 
sons why  I  had  either  to  make  my  own, 
or  go  without.  In  the  fir.st  place,  no 
commercial  manufacturer  has  as  yet  got 
around  to  making  a  dolly  for  16mm. 
cameras.  In  the  second  place,  even  if 
some  manufacturer  had  done  so,  my 
moviemaking  budget  is  on  the  slim  side, 
and  doesn't  allow  much  in  the  way  of 
expenditures  for  equipment  that  will 
only  be  used  occasionally. 

So  I  made  myself  a  dolly — for  a  total 
cash  outlay  of  .$25.  I'll  admit  this 
was  augmented  by  forays  upon  junk- 
yards and  similar  sources  of  unconven- 
tional "raw  materials"  and  by  the  kind 
cooperation  of  a  friend  who  let  me  use 
his  machine-shop.  Btit  the  family  bank- 
roll shows  only  $25  spent  in  producing  a 
dolly  that  gives  me  professionally 
smooth  trucking  shots. 

The  first  consideration  in  making  a 
camera  carriage  of  this  type  for  home 
use  is  to  realize  that  there's  more  to  it 
than  simply  putting  a  set  of  wheels 
under  a  tripod.  That  will  move  your 
camera  right  enough — but  it  won't  give 
you  really  professional  trucking  shots. 

If  you  will  study  the  pictures  and 
descriptions  of  professional  camera-mov- 
ing equipment  which  appear  from  time 
to  time  in  such  magazines  as  The  Amer- 
ican Cinematographer  you  will  see  that 
the  studio-made  dollies  carry  more  than 
just  the  camera.  First  of  all,  they  must 
carry  the  cameraman. 

Rolling  Tripod 

If  you  don't  think  so,  imagine  for  a 
minute  the  difficulty  of  keeping  your 
eye  to  a  camera's  finder  while  walking 
beside  a  rolling  tripod.  If  you're  very- 
lucky,  you  might  be  able  to  do  it  and 
get  a  shot  that  was  only  a  trifle  jiggly. 
More  likely,  your  shot  would  be  down- 
right bumpy,  and  the  action  poorly  fol- 
lowed. 

Point  two  is  that  a  good  dolly  should 
make  provision  for  carrying  its  own 
lights.  This  is  most  important  of  course 
when  you  are  following  people  moving 
through  a  room,  for  we  amateurs  don't 
as  a  rule  have  enough  lighting  equip- 
ment to  allow  us  to  light  up  a  big  room 
or  a  large  corridor  AND  keep  our  peo- 
ple well  illuminated  too. 

So  the  foundation  of  my  dolly  was  a 
wooden  platform  about  four  feet  long 
and  a  bit  under  .'50  inches  wide.  This  was 
simply  a  rectangular  framework,  cross- 
braced  for  rigidity.   On  top  of  this  was 


a  simple  flooring  of  ordinary  tongue-and- 
groove  floorboards. 

Then  I  went  to  a  handy  auto-supply 
store  and  bought  a  few  cents  worth  of 
rubber  floor  matting.  This  was  secured 
to  my  dolly  floor  with  rubber  cement. 

The  biggest  single  item  in  my  cost 
sheet  was  the  wheels.  For  these  I  went 
to  a  toy  store  and  bought  a  set  of  sturdy, 
rubber-tired  wheels  such  as  are  used  on 
children's  scooters  and  coaster-wagons. 
I  paid  $G  for  a  set  of  four  wheels  and 
pneumatic  "doughnut"  tires. 

For  axles  I  simply  used  lengths  of 
steel  rods,  appropriately  sized.  The 
wheels  are  held  on  the  axles  with  cotter- 
pins,  while  the  axles  themselves  simply 
pass  through  holes  in  the  floor  framing. 
This  means  that  my  dolly  is  not  steer- 
able;  but  in  many  instances  this  is  an 
advantage,  in  addition  to  making  simpler 
construction. 

Nevertheless,  I  am  planning  before 
long  to  fit  a  supplementary  pair  of 
wheels  which  can  be  pivoted  or  screwed 
in  and  out  of  place,  which  will  permit 
steering  when  I  want  to. 

Calling  Mr.  Ford 

The  upright  member  that  supports  the 
camera  is  one  of  my  junkyard  purchases 
and  cost  75  cents.  It  began  its  career 
as  half  the  rear-axle  housing  of  a  Model 
T  Ford.  At  one  end  Mr.  Ford  had  gen- 
erously provided  a  nice  spreading  flange, 
complete  with  bolt-holes,  which  could 
easily  be  bolted  to  my  platform. 

At  the  other  end  I  fitted  a  tubular 
metal  block  equipped  with  a  set  screw 
which,  in  turn,  was  operated  by  the 
wheel  of  a  garden  hydrant  faucet.  The 
making  of  this  block,  by  the  way,  repre- 
sented the  biggest  part  of  the  machine 
work  I  had  to  promote  from  my  ma- 
chinist friend. 

Sliding  up  and  down  within  the  re- 
juventated  flivver  axle  was  a  metal  rod 
— either  steel  or  dural  will  do.  At  the 
upper  end  of  this  rod  I  fitted  a  screw  to 
which  I  could  attach  a  regular  pan-and- 
tilt  head,  borrowed  for  the  occasion  from 
my  tripod. 

Thus  I  had  a  pillar  which  would  hold 
the  camera,  with  any  desired  accessories, 
at  any  height,  and  which  could  be  locked 
in  place  by  means  of  the  set  screw. 

The  next  item  was  to  provide  some- 
thing for  the  cameraman  to  sit  on.  A 
visit  to  a  second-hand  store  unearthed 
the  seat  and  screw  of  one  of  those  old- 
fashioned  adjustable  piano  stools.  The 
seat  itself  was  re-covered  with  black 
leatherette.  The  screw  socket  was,  after 


some  trouble,  mounted  in  the  longer 
part  of  a  plumber's  T-jointed  pipe. 

The  third  opening  in  this  pipe  was  con- 
nected to  another  length  of  pipe  which 
in  turn  was  fixed  to  a  right  angle  pipe 
joint,  which  connected  to  a  second  sec- 
tion of  straight  pipe  which  formed  the 
upright  support  of  the  seat. 

Making  Swivel  Seat 

Here's  how  I  made  the  swivel  connec- 
tion which  holds  this  upright  firmly  to 
the  floor,  yet  permits  the  operator  to 
swivel  it  to  any  position  he  desires.  Of 
course,  since  that  particular  section  of 
the  floor  had  to  carry  the  weight  of  the 
cameraman  I  reinforced  it  with  a  two- 
inch  cross  brace  between  the  side  frames. 
At  the  appropriate  spot,  I  drilled  a  hole 
in  this  brace  and  the  floor  planking,  suf- 
ficiently large  to  allow  my  pipe  to  pass 
through  freely. 

Next,  I  took  two  regular  threaded 
flanges.  I  turned  down  the  threads  from 
one  of  them,  so  I  had  one  threaded  flange 
and  one  flange-shaped  collar.  Slipping 
my  pipe  through  the  hole,  I  screwed  the 
threaded  flange  to  it.  Then  I  slipped  the 
other,  unthreaded  one  down  over  the  pipe 
from  above. 

Finally  I  bolted  the  two  together,  run- 
ning the  bolts  completely  through  the 
floor  and  framing.  This  gave  me  a 
joint,  with  ample  bearing  surface  for 
rigidity,  which  could  be  pivoted  as  de- 
sired. 

To  carry  lighting  equipment  I  simply 
bolt  a  pair  of  flanges  on  the  two  front 
corners  of  my  platform.  Smaller  pipe 
uprights  screw  into  these  flanges  and 
are  fitted  with  set  screw  locks  at  the 
top.  Into  these  tubes  I  can  slip  the  sup- 
porting rods  of  any  type  of  lamps — 
either  floodlights  or  spotlights. 

A  U-shaped  handle,  also  made  from 
sturdy  pipe  and  strongly  braced,  is 
mounted  at  the  rear  end  of  the  platform, 
and  provides  a  means  of  either  pulling 
or  pushing  the  dolly  and  its  load. 

Moving  Shots 
Naturally,  with  two  lamps  and  the 
electric  motor  I  often  use  to  drive  my 
Filmo,  there  would  ordinarily  be  a  lot 
of  trailing  wires  to  get  tangled  in  mak- 
ing a  trucking-shot.  This  difficulty,  how- 
ever, has  been  avoided  by  building  the 
greater  part  of  the  wiring  right  into 
the  dolly. 

A  flush  type  multiple  outlet  is  set  into 
the  floor  of  the  platform,  well  forward, 
where  it  will  be  out  of  the  way.  From 
this,  underneath  the  platform,  wires  run 


August,  1938    •    American  Cinematographer  347 


to  two  single,  flush  type  sockets  on  the 
two  opposite  sides  of  the  frame. 

Thus  when  shooting  a  moving  shot 
the  two  lamps  and  the  camera  motor  can 
be  plugged  in  to  the  outlet  on  the  floor 
of  the  platform,  and  this  in  turn  fed 
through  a  single  cable,  connected  to 
either  the  left  or  right  hand  side  of  the 
dolly,  as  convenience  may  dictate. 

In  practice,  this  home-made  dolly  is 
working  out  even  better  than  I  had  ex- 
pected. It  is  big  enough  to  be  satisfac- 
torily steady,  even  with  a  35mm.  hand- 
camera  like  an  Eyemo  or  with  the  sup- 
port raised  to  its  maximum  height.  On 
the  other  hand,  it  is  small  enough  to 


be  transported  easily  in  the  rear  deck 
of  any  small  business  coupe. 

Since  it  is  only  about  32  inches  wide 
it  can  be  run  through  any  average  door. 
(This  is  an  important  point,  for  you 
may  often  want  to  dolly  through  doors 
in  houses  where  the  doors  are  narrower 
than  yours  at  home!) 

I  built  this  dolly  for  my  own  use,  but 
it  begins  to  look  as  though  I  weren't 
the  only  one  who  wanted  such  a  device. 
Several  amateur  and  semi-professional 
cinematographers  have  already  rented 
it  when  their  pictures  needed  moving- 
camera  shots. 

Most  recently,  a  professional  studio 
has  even  used  it,  for  M-G-M  has  rented 


it  for  use  as  a  "prop"  in  Clark  Gable's 
current  film,  "To  Hot  to  Handle,"  in 
which  the  star  appears  as  a  newsreel 
cinematographer! 

Of  course  this  last  is  decidedly  un- 
usual; but  from  my  own  use  of  the  dolly, 
and  the  calls  I  have  had  from  other 
amateurs,  it  seems  to  me  that  amateurs 
in  almost  any  other  city  could  find  much 
pleasure — and  profit — in  making  them- 
selves similar  devices.  One  can  go  to  a 
great  deal  more  complication  and  ex- 
pense than  I  did  in  making  this,  but 
my  experience  proves  that  an  efficient, 
workable  dolly  for  home-movie  camera- 
work can  be  made  with  remarkably  lit- 
tle trouble  and  expense. 


Amateur  JVho  fVorks  Out  Details 
of  Picture  First  Is  Best  Started 

By  J.  FRANCIS  BROOKS 

Member  General  Committee  Australian  Amateur  Cine  Society, 
in  The  Movie  News,  official  organ  of  the  society. 


SEVERAL  articles  by  the  editor  have 
appeared  in  these  columns,  the 
objects  of  which  have  been  to  en- 
courage the  "ordinary  cine  worker"  to 
take  up  his  camera  and  to  keep  him 
interested  in  it;  to  tell  him  how  and 
what  to  take;  to  give  him  a  complete 
insight  into  the  hobby  so  far  as  it  affects 
him;  and  to  show  him  how  to  make 
competent  films  and  project  them  com- 
petently. 

The  articles  were  directed  more  par- 
ticularly to  the  "homely"  cinematogra- 
pher— the  man  whose  interest  in  the 
hobby  is  solely  the  making  and  showing 
of  interesting  films  of  his  family  and 
friends,  his  holidays  and  travels,  his 
hobbies  and  interests,  and  other  sub- 
jects worthy  of  his  cine  camera  and 
within  his  capabilities. 

The  creative  side  of  movie-making 
dealt  with  last  month  brought  the  man 
behind  the  camera  into  easy  technical 
aspects  undertaken  by  the  advanced 
worker  and  it  is  now  proposed  by  me  to 
dwell  briefly  on  the  all-important  subject 
of  writing  a  scenario. 

It  was  stated  by  a  well-known  writer 
in  the  Amateur  Cine  .lournal  recently 
that  successful  cinephotography  is  di- 
rectly proportional  to  the  amount  of 
care  bestowed  upon  details,  not  only 
when  operating  the  camera,  but  even  be- 
fore the  camera  is  brought  into  use. 

It  has  been  stated,  almost  ad  nauseam, 
that  every  film  should  be  planned  on 
paper  before  any  attempt  is  made  to 
bring  the  camera  into  use.  Notwithstand- 
ing the  ad  nauseam  part  of  it,  the 
advice  is  unimpeachable. 

If  every  amateur  cameraman  were 
to  sit  down  with  pencil  and  paper  and 


work  out  the  details  of  every  proposed 
film — however  "homely"  the  subject 
might  be — he  would  be  well  started  on 
the  road  to  competent  film  making. 
Scenario  and  Framework 
Writing  a  scenario  is  not  preparing 
an  architectural  plan  to  which  all  tech- 
nique is  referred  and  which  must  govern 
every  later  situation.  It  is  rather  pro- 


viding the  framework  upon  which  neces-^ 
sarily  the  movie  must  rest. 

The  basic  and  most  essential  feature 
of  scenarization  is  the  division  of  the 
action  into  scenes  so  that  the  story  can 
best  be  told  with  the  motion  picture 
camera.  The  tendency  of  most  begin- 
ners at  scenaria  writing  is  to  make 
scenes  too  long  and   to   include  more 


Robert  Huhba^-d's  $25  home  movie  dolly  in  action 


348     American  Cinematographer    •    August,  1938 


American  Cinematographer 

1938  International 
Amateur  Competition 

FOR  8MM  AND  16MM  SUBJECTS 


$500  in  Cash  Prizes 

GRAND  PRIZE  $200 

Photography  $50    Home  Movie  

Color    50  Scenic  

Scenario   50    Documentary    .  .  .  , 


$50 
50 
50 


NO  ENTRANCE  FEE 
ORIGINAL  FILMS  ONLY  —  NO  DUPES 
NO  REDUCTION  FROM  35MM 


THE  RULES 

The  contest  is  world  wide  and  open  only  to  genuine 
8mm  or  16mm  amateurs  oi-  amateur  clubs. 

The  contest  ends  at  midnight  October  31,  1938.  Entries, 
mailed  or  expressed,  later  than  that  time  will  not  be 
eligible. 

Pictures  submitted  will  be  judged  for  photography,  en- 
tertainment and/or  story  value,  direction,  acting,  cut- 
ting and  composition. 

The  decision  of  the  judges,  among  whom  there  will  be 
prominent  cameramen,  will  be  final.  Announcement  of  the 
awards  will  be  made  as  soon  after  the  close  of  the  con- 
test as  possible  and  checks  sent  to  the  winners. 

Pictures  may  be  submitted  either  by  individual  amateur 
movie  makers  or  they  may  be  submitted  by  amateur  movie 
clubs.  Each  entrant  must  have  his  entry  or  entries  ac- 
companied by  a  sworn  statement,  the  blank  for  which  will 
be  forwarded  to  him  to  fill  in. 

Contestants  may  enter  as  many  subjects  as  they  desire. 
One  entry  blank  will  cover  all  subjects. 

The  American  Cinematographer  reserves  the  right  not 
to  declare  a  prize  for  any  classification  if  in  the  opinion 
of  the  judges  there  is  not  a  picture  submitted  sufficiently 
good  to  be  classed  as  a  prize-winner. 

The  American  Cinematographer  retains  the  right  to 
make  duplicates  of  such  prize-winning  pictures  as  it  may 


indicate,  for  free  distribution  to  clubs  and  amateur  organ- 
izations throughout  the  world. 

If  you  intend  to  enter  the  contest,  please  send  coupon 
on  this  page  for  official  entry  blank. 

NOTICE  TO  FOREIGN  ENTRIES 

Films  from  foreign  countries  will  be  admitted  to  the 
United  States  duty  free  if  the  pictures  are  made  on 
American  made  stock.  If  this  is  the  case,  this  fact  must 
be  included  in  the  shipment,  also  the  information  must  be 
given  that  it  is  for  non-commercial  use.  If  the  film  is 
not  exposed  on  American  made  stock  duty  will  have  to  be 
prepaid  by  the  sender  at  the  rate  of  $1  per  hundred  feet. 


AMERICAN  CINEMATOGRAPHER 
1782  No.  Orange  Drive 
Hollywood,  California 

Please  send  me  one  of  your  official  entry  blanks.  I  intend  to 
enter  a  (lemm  8mm)  picture  in  your  1938  contest.  I  understand 
my  entry  must  be  in  your  office  not  later  than  October  31,  1938. 

Name-  -  

Street  

Address  


August,  1938    •    American  Cinematographer  349 


action  than  should  be  presented  from 
one  camera  position  and  angle. 

SCENE  in  motion  pictures  does  not 
refer  to  the  set,  but  to  the  camera  posi- 
tion; in  movies  there  may  be  many 
scenes  in  one  set. 

The  foundation  of  a  film  is  a  story. 
The  task  of  a  film  writer  is  to  find  a 
theme  of  direct  human  appeal.  This 
scheme  must  be  emotional;  it  may  be 
humorous  or  serious.  It  must  be  con- 
structive. In  the  beginning  it  must  set 
out  to  do  something  and  before  it  ends 
that  something  must  be  done. 

Beginning,  Middle,  End 

Working  out  the  story  in  terms  that 
can  be  handled  is  more  important  than 
the  precise  nature  of  the  plot.  The  real 
art  and  expression  will  come  in  inter- 
preting the  story  in  motion  picture 
terms.  It  is  well  to  remember  that  a  plot 
has  a  beginning  which  states  a  problem, 
a  middle  which  develops  the  problem  and 
an  end  which  pi'esents  an  answer.  The 
simplest  method  of  plot  writing  is  to  set 
an  objective  for  some  character  and  then 
threw  obstacles  in  the  way  of  attain- 
ment. 

In  simple  and  straightforward  photo- 
play there  are  seven  camera  positions. 
They  are  most  easily  explained  by  divid- 
ing them  into  three  groups. 

In  the  first  group  we  have  what  are 
called  the  establishing  shots,  they  are 
the  full  shot  and  long  shot.  The  full  shot 
includes  an  entire  scene  or  natural  set- 
ting. It  is  a  general  impression  shot.  It 
may  present  a  racecourse  scene  or  a 
city  street,  etc.  The  long  shot  may  in- 
clude anything  from  a  half  to  a  full 
setting  and  is  generally  at  a  distance 
from  the  camera  ranging  from  25  to  100 
feet.  Establishing  shots  must  be  used 
with  great  caution. 

In  the  second  group  we  have  the  three 
explanatory  shots.  They  are  Medium 
Long  Shots  (M.L.S.),  the  Medium  Shot 
M.S.),  and  the  Medium  Close  Shot 
(M.C.S.) 

The  M.L.S.  shows  the  full  figure  of  a 
player  or  players. 

The  M.S.  shows  the  player  from  the 
knees  upward. 

The  M.C.S.  shows  the  players  from  the 
waistline  upward. 

In  considering  such  mechanical  de- 
tails I  would  urge  you  to  remember  that 
the  basis  of  film  mnking  can  be  likened 
to  the  letters  of  the  alphabet  which  are 
at  the  command  of  the  writer. 

Big  Close-Up 

The  third  group  of  this  series  includes 
the  climactic  shots  which  are  of  great 
importance  to  the  sentiment  of  a  film 
drama.  They  are  the  close-up  (C.U.) 
and  the  big  close-up  (B.C.U.) 

The  C.U.  shows  an  actor  from  the  top 
of  his  head  to  the  V  of  his  tie. 

The  B.C.U.  shows  the  face  only. 

These  shots  must  be  decisive  and  in- 
cisive in  meaning.  The  players  in  such 
cases  must  have  something  of  great  im- 
portance to  say  or  do  or  think. 

Planning  the  continuity  of  a  motion 
picture  is  simply  outlining  the  story  in 
scenes  that  are  intended  to  be  filmed. 
This  is  referred  to  as  a  scenario. 


The  creation  of  plots  does  not  in  it- 
self constitute  the  production  of  good 
literature  in  photoplay.  It  is  the  inter- 
pretation of  the  plot  in  important  human 
terms  that  counts.  Plots  are  cheap,  but 
ART  is  still  elusive. 

Careful  editing  can  accomplish  marvels 
BUT  it  cannot  do  as  much  as  careful 
planning  plus  editing. 


Los  Angeles  Cinema  Club 

The  Los  Angeles  Cinema  Club  met  in 
the  auditorium  of  the  Eastman  Kodak 
Company  on  Monday,  July  11. 

On  behalf  of  a  special  committee, 
James  H.  Mitchell  submitted  amend- 
ments to  the  by-laws  approved  by  the 
board  of  governors.  The  amendments 
made  provision  for  the  appointment  of 
successors  to  the  offices  of  president, 
vice  president  and  secretary-treasurer 
made  vacant  for  any  reason. 

Mr.  Judson  of  the  Los  Angeles  School 
of  Design  spoke  in  general  terms  on 
composition.  He  recommended  to  the 
club  for  valuable  information  the  fol- 
lowing: "Journal  of  English  Photogra- 
phy," "Documentary  Film,"  by  Paul 
Rothe;  "Pool's  Pictorial  Composition," 
"Emphasis  and  Pictures,"  by  N.  Haz,  and 
"Amateur  Movies  and  How  to  Make 
Them." 

Mr.  Harrison  spoke  on  the  theory  of 
filters.  He  led  a  general  discussion  of 
the  membership  which  brought  out  many 
questions. 

Dr.  LeRoy  Bailey  summarized  and  dis- 


disihSL  i6u  ihsL 

CAMERAMAN'S 
PERFECT 
EQUIPMENT 

THE 


GOERZ 


KIINO-HYPAR  F2.7  15  mm 
WIDE-ANGLE  LENS 
and  the 

KINO-HYPAR  F2.7  75  mm  (3") 
for  LONG-DISTANCE  SHOTS 
and  CLOSE-UPS 

can  now  be  had  as  Standard  Equip- 
ment   with    the    BO  LEX  16mm 
MOVIE   CAMERA.     Other  focal 
lengths  can  also  be  supplied. 
The   distributors   of   the  precision- 
built    BOLEX    camera    made  this 
choice  after  a  thorough  test  of  the 
American-made  GOERZ  LENSES  to 
assure  their  customers  of  the  best 
possible  picture  results. 

Specify  GOERZ  LENS  EQUIP- 
MENT when  purchasing  the 
BOLEX  CAIVIERA  from  the 
American  Bolex  Company  or 
authorized  Bolex  dealers. 

Vor    further    lens  information 
address  Dept.  A.C8 


CP. GOERZ  AMERICAN  OPTICAL  CO. 


317  E.  34  St.  New  York,  N.  Y. 

American     Lens    Makers    Since  1899 


cussed  current  literature  of  interest  to 
amateur  moviemakers. 

The  one  hundred  foot  roll  of  film 
awarded  to  members  for  experimental 
studies  was  made  to  Mrs.  McMillin.  The 
other  film  was  returned  by  the  member 
who  won  it  with  the  statement  that  he 
did  not  feel  he  had  time  to  do  the  prob- 
lem justice. 


New  Baby  Keg-Lite  Born 

at  Bardwell-McAlister's 

SIMPLICITY  and  lightness  are  the 
keynotes  of  a  new  500  watt  unit 
introduced  by  Bardwell  &  McAlister, 
Inc.,  Hollywood  lighting  equipment 
manufacturers.  Following  the  general 
lines  of  the  Keg-Lite,  this  Baby  Keg 
weighs  only  28  pounds  complete  with 
double  riser  stand.  For  breakdown  the 
head  only  weighs  16  pounds,  stand  12 
pounds. 

The  popular  BM  quick-focusing  device 
has  been  fui'ther  simplified.  A  lever  arm, 
protruding  from  both  front  and  rear,  is 
moved  from  side  to  side  for  focusing 
spot  to  flood.  So  simple  is  this  mech- 
anism that  a  high  lamp  can  be  focused 
by  merely  exerting  a  pressure  against 
the  protruding  lever. 

The  lamp  can  be  furnished  with  either 
pre-focus  or  medium  bipost  sockets. 
Both  types  of  sockets  ai"e  porcelain  base, 
insuring  against  deterioration  from 
heat. 

A  short  focus  6  inch  diameter  fresnel 
lens  combined  with  a  pre-focused  high 
reflecting  mirror  gives  great  efficiency 
in  lighting  output. 

The  Keg-Lite  lines  and  ventilation  in- 
corporated in  this  lamp  make  for  longer 
globe  life  as  well  as  coolness  cf  opera- 
tion. 

This  lamp,  while  light  in  weight  yet 
of  sturdy  construction,  is  a  contribution 
to  the  small  spot  field  for  studio  and  pro- 
fessional and  advanced  amateur  use. 


8mm.  Gadgeteers  Stage 
Parade  of  Devices 

(Continued  from  Pac/v  S38) 

of  added  length  to  the  tripod  which  per 
mitted  a  tall  man  to  peer  through  the 
camera  finder  without  running  the  danger 
of  acquiring  a  crick  in  his  back  during 
extended  filming. 

A  sunshade,  fading  glass  and  mask 
holder  was  next  displayed.  This  had  a 
flat  base  which  was  secured  between  the 
camera  and  tilthead.  An  upright  extend- 
ing in  front  of  the  camera  lens  held  the 
sunshade  and  a  rack  and  pinion  device 
for  cranking  mask  or  fading  glass  in 
place.  Masks  containing  apertures  of 
different  shapes  such  as  keyhole,  circular, 
diagonal,  etc.,  were  constructed  of  thin 
wood  composition  stained  a  dull  black. 

His  next  demonstration  was  a  film 
viewer  somewhat  similar  in  appearance 
to  the  Eastman  viewer  with  the  excep- 
tion of  the  ground  glass  field  which  had 
been  enlarged  several  diameters. 

To  those  interested  in  changing  film 
for  making  double  exposures  and  dis- 
solves, a  changing  bag  of  opaque  ma- 


•I 


350     American  Cinematographer    •    August,  1938 


terial  having-  a  large  window  of  red 
cellophane  proved  of  interest.  The  win- 
dow could  be  closed  when  the  owner 
desired  to  change  color  or  panchromatic 
film. 

The  bag  was  large  enough  to  hold  the 
camera  and  permit  free  movement  of  the 
hands  which  were  inserted  through  holes 
fitted  with  elastic.  The  aperture  for  in- 
sertion of  the  camera  was  closed  with  a 
zipper. 

A  program  of  home  movies  ended  the 
meeting  of  this  progressive  club. 


Educator  Must  Keep  Pace 
with  Projector 

(Continued  from  Page  3.19) 

watt  lamp  which  was  incorporated  in 
the  first  type  projector. 

1000-1200  Follow  750 

The  750-watt  lamp  has  enjoyed  much 
popularity,  and  it  is  today  considered 
standard  equipment  by  many  of  the  lead- 
ing projector  manufacturers.  The  screen 
brilliance  when  using  the  750-watt  lamp 
is  found  to  be  quite  satisfactory  for  not 
only  the  average  classroom  but  also  for 
the  smaller  auditoriums. 

Following  the  750-watt  came  the  1000- 
watt,  and  then  the  1200-watt  for  use  in 
large    school    auditoriums    or   where  a 


Richtone    Laboratory  Processes 

Kodachrome  Duplicates  in  Smm.  and  16mm. 
Reduction    Printing,    Duplicate  Negatives 
Sound.  Linotype  Titles 

Richter's   Photo   Service  Inc., 

7936  Santa  Monica  Blvd. .Holly wood  HE355.t 


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•  Inexpensive 


Small  and  flat  In  shape,  Leudi  fits  into  your  vest 
pocket  with  unobtrusive  ease.  It  is  always  with  you 
and  'informs'  you — at  a  qiance — of  the  correct  expos- 
ure. The  smallest  optical  exposure  meter  made, 
Leudi  is  undeviatlngly  dependable  —  and  its  price, 
which  is  extraordinarily  moderate,  includes  a  durable 

protective  case  $2.15 

Also  Leudi  Exposure  Meter  for  still  cameras 
at  the  same  price. 
Send  for  literature  on  Mico  Optical  Glass  Non- 
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greater  distance  exists  between  the 
screen  and  the  projection  booth.  The 
1200-watt  lamp  was  released  in  June 
1938  and  is  a  very  recent  development. 

I  should  now  like  to  make  a  compari- 
son between  the  1200-watt  lamp  and  the 
750-watt  so  that  some  idea  might  be 
had  of  the  added  brilliance  derived  from 
the  more  powerful  lamp. 

It  might  be  advisable  to  mention  here 
that  maximum  screen  brilliance  is  not 
derived  only  from  the  increased  wattage, 
but  that  in  a  lamp  such  as  the  750-watt, 
or  anything  higher,  a  complete  new  op- 
tical system  must  also  be  incorporated 
to  secure  or  take  full  advantage  of  the 
added  wattage. 

Optical  System 

You  might  be  interested  in  knowing 
more  about  the  optical  system,  and  in 
this  connection  I  might  mention  that  it 
is  usually  explained  as  consisting  of 
the  following: 

Lamp,  condenser,  auxiliary  condenser, 
shutter  and  lens.  The  efficiency  of  these 
units  considered  separately,  and  in  com- 
bination, determines  the  relation  be- 
tween the  amount  of  light  reaching  the 
screen  and  the  total  energy  emitted  by 
the  lamp.  We  might  project  on  the 
screen  the  optical  units  individually  so 
that  we  might  secure  a  better  idea  of 
what  the  entire  combination  does  toward 
illuminating  the  screen: 

1.  Lamp  only 

2.  Condenser 

3.  Auxiliary  condenser  (which  fur- 
ther condenses  the  light) 

4.  Shutter 

5.  Projection  lens. 

Light  May  Be  Varied 

You  will  understand  that  any  projec- 
tor gives  just  so  much  total  light,  and 
by  placing  the  projector  near  the  screen, 
or  at  a  greater  distance  from  it,  or  by 
using  lenses  of  various  focal  lengths 
the  image  brilliancy  can  be  varied. 

The  brilliance  read  in  foot  candles  is 
a  direct  function  of  the  screen  size  and 
we  might  here  dwell  on  the  matter  of 
correct  screen  brilliancy  measured  in 
foot  candle  intensity. 

Practically  all  physics  departments  in 
the  average  school  are  equipped  with  a 
foot  candle  meter,  and  if  one  should 
care  to  check  up  on  the  projector  bril- 
liancy and  determine  the  correct  dis- 
tance for  setting  the  screen  it  might  be 
done  as  follows: 

In  taking  foot  candle  measure- 
ments it  has  been  our  experience  to  take 
five  readings — on  the  top  center,  the 
lower  center,  the  left  center,  the  right 
center,  and  also  one  reading  directly  in 
the  center. 

If  an  intensity  reading  of  six  foot 
candles  is  made,  you  will  have  excellent 
screen  brilliance,  but  should  the  reading 
be  in  the  neighborhood  of  four  foot  can- 
dles it  would  be  rated  as  quite  com- 
fortable and  very  fair — (15  per  cent). 

From  what  already  has  been  demon- 
strated it  is  obvious  that  the  16mm. 
projector  or  the  16mm.  film  width  should 
•no  longer  be  classified  as  "amateur,"  be- 


cause there  is  nothing  amateurish  about 
it,  and  through  scientific  research  and 
mechanical  achievement  it  has  definitely 
reached  a  stage  where  it  should  be  class- 
ified as  the  educational  standard. 

The  quality  of  projection  is  very  im- 
portant, especially  in  educational  work, 
where  the  factor  of  eye  fatigue  is  so 
highly  important,  and  this  problem  has 
been  given  every  possible  consideration 
by  the  16mm.  projector  manufacturers. 

We  feel  that  in  the  educational  stand- 
ard machines  we  have  attained  the  max- 
imum in  picture  steadiness  and  also 
have  eliminated  the  objectionable  flicker, 
which  has  always  been  one  of  the  major 
causes  of  eye  fatigue. 

Steadiness  of  the  picture  on  the  screen 


8 


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Stays  on  the  camera  .  .  Open  or  closed 
.  Always  in  "sync"  . 
.  Does  not  BANG  the  shutter  . 
At  your  dealers  .  .  Write  for  catalog 

IRVING  MFG.  CO. 

1537  N.  Hoover  St.  Hollywood.  Calil. 


August,  1938    •    American  Cinematographer  351 


is  very  important,  as  anything  but  rock 
steady  pictures  will  tend  to  create  eye 
fatigue  as  quickly  as  that  produced  by 
flicker.  A  recent  War  Department  speci- 
fication requires  that  the  projector  im- 
age must  not  have  a  greater  jump  than 
one-fourth  inch  on  a  screen  6  ft.  high, 
and  in  the  average  16mm.  projector  this 
specification  is  easily  met. 

Compare  First  and  Last 

In  conclusion  I  should  now  like  to 
project  on  the  screen  the  light  from  the 
latest  type  of  16mm.  projector  which 
was  designed  primarily  for  large  school 
or  college  auditoriums.  A  comparison 
between  this  light  and  the  original  200- 
watt  light  is  quite  interesting  and  you 
may  now  have  a  much  clearer  visualiza- 
tion of  exactly  what  advancement  has 
been  made  in  projection  equipment  for 
educational  purposes. 

The  brilliant  light  you  now  see  is  em- 
anating from  the  Bell  &  Howell  16mm. 
arc  projector,  which  will  be  utilized  in 
such  installations  as  that  of  the  U.C. 
L.A.  Royce  Hall  Auditorium,  which  re- 
quires that  the  projector  have  ample 
light  to  carry  from  their  booth  to  the 
screen  and  which,  in  this  particular  audi- 
torium is  approximately  120  feet.  Inci- 
dentally, this  Forum  is  honored  in  being 
the  first  group  to  witness  a  public  dem- 
onstration of  the  new  projector. 

For  those  interested  in  examining  this 
latest  tool  of  the  educational  director 
we  shall  have  it  installed  at  the  Bell  & 
Howell  auditorium  this  afternoon  at  the 
Film  Clinic,  and  a  technician  will  be  in 
attendance  to  explain  its  operation  or 
any  other  point  of  interest. 


Make-Up  as  Aid  to  Amateurs 

(Coyitinued  from  Page  337) 

It  is  possible  convincingly  to  change 
the  shape  of  the  mouth.  It  is  often  de- 
sirable where  you  need  to  improve  the 
expression,  to  apply  lip  rouge  in  such  a 
way  as  apparently  to  enlarge  a  small 
mouth,  or  minimize  an  overly  large  one. 
This  is  done  by  applying  the  lip  rouge 
as  desired,  forming  the  necessary  size 
and  outline,  and  then  blending  in  the 
foundation  color  to  the  new  lip  line. 

The  final  operation  in  applying  a 
"straight"  make-up  is  powdering.  This 
removes  any  trace  of  sheen  from  the 
oily  base  of  the  make-up  and  completes 
the  smooth,  uniform  color  and  texture 
desired. 

It  is  most  important  to  remember  that 
powder  must  be  applied  with  a  gentle, 
patting  motion — never  rubbed  on.  Do 
not  be  afraid  to  apply  the  powder  pro- 
fusely :  it  is  practically  impossible  to 
get  too  much  on,  for  the  moist  base  will 
hold  only  so  much. 

Pat  the  powder  over  the  lip-line,  and 
also,  though  sparingly,  over  the  eye 
shadow.  If  there  are  wrinkles,  gently 
draw  out  the  skin  and  pat  more  powder 
into  the  wrinkles. 

To  remove  the  surplus  powder,  use 
the  soft  brush  made  especially  for  this 


purpose.  Be  sure  to  brush  the  entire 
make-up  lightly  and  carefully,  leaving 
the  complexion  smooth  and  dry. 

When  Using  Brush 

At  this  point,  it  is  possible  to  retouch 
the  lips  and  eyebrows  if  by  chance  the 
powder  has  interfered  with  these  details, 
and  to  apply  masque,  cosmetic,  or  even 
artificial  eyelashes  if  anything  is  neces- 
sary to  accentuate  the  lashes. 

Masque  is  applied  with  a  small  brush, 
moistened  in  water.  Several  applications 
may  sometimes  be  necessary.  Cosmetic 
has  the  advantage  of  being  waterproof. 
It  is  prepared  for  application  by  plac- 
ing in  a  small  receptacle  and  warming 
until  melted.  The  cosmetic  is  then  ap- 
plied with  a  paper  liner  or  an  orange 
wood  stick  as  one  would  apply  masque. 

Modem  make-ups  are  easily  removed. 
The  liquid  make-up  used  for  making  up 
women's  shoulders,  arms,  and  other  ex- 
posed parts  which  must  be  made  up  can 
be  removed  with  soap  and  water.  The 
other  make-up  products  are  removed 
with  cold  cream.  Massage  the  face  well 
until  the  cold  cream  has  dissolved  all 
the  make-up.  Then  wipe  the  face  thor- 
oughly, and  wash  in  warm  soap  and 
water,  following  with  a  cool  rinse. 
Make-Up  Chart 

It  is  impossible  to  set  down  iron- 
clad rules  for  make-up,  since  each  in- 
dividual's features  and  coloring  call  for 


PAT  CLARK 

Hollywood  Fine  Grain  Developing  of 
CANDID  CAMERA  FILMS 

Mail  Orders  Promptly  Filled 
1110  Vine  St.,  Hollywood      HO.  9903 


KODACHROME 

DUPLICATES  ItZ: 

STITH-NOBLE  CORP. 

YO  0331 

645  North  Martel  Ave.,  Hollywood.  Calif. 


g  Enlarged  Reduced  g 

Geo.  W.  Colburn  Laboratory 

Special  Motion  Picture  Printing 
1197  MERCHANDISE  MART 
CHICAGO 


NATURAL  COLOR 

Enlargement  Prints 

from  your  own 

35mm.  Kodachrome  Transparencies 
8x10  Prints  $15.00  each 
11x14  Prints  $20.00  each 

All  prints  beautifully  mounted  ready  for 
framing.  Satisfaction  guaranteed.  We  reserve 
right  to  refuse  to  make  prints  from  imperfect 
transparencies. 

"Quality  prints  our  ivatchivord" 

HESSERCOLOR  CORP. 

4605  Hollywood  Blvd.,  Rm.  213,  Hollyv^ood,  Cal. 
 Dealers,  write  for  agency  terms 


individual  variations.  Experience  has, 
however,  enabled  us  to  set  forth  a  gen- 
eral guide  sufficiently  accurate  for  most 
purposes. 

It  must  be  understood  that  this  is 
for  the  regular  super-sensitive  panchro- 
matic film  generally  used  in  the  studios, 
and  cannot  apply  to  the  cheaper  ortho- 
chromatic  films.  It  can  be  modified  for 
all  of  the  familiar  panchromatic  types 
available  for  sub-standard  cameras. 

Taking  the  professional  superpan  as 
the  standard,  if  the  film  used  is  slower, 
use  a  lighter  make-up;  if  it  is  faster, 
use  a  darker  make-up.  The  higher  the 
number,  the  darker  the  shade  of  make- 
up. 

Young  Women 


Blond  Brunette 

Foundation   .    27  26 

Powder               27  26 

Lining  Color.    21  22 

Masque   Brown  Brown 

Eyebrow 

Pencil  ..  Brown  Brown 
Moist 


Rouge  390-A  Medium    390-A  Medium 
Men 

Blond  Brunette 

Foundation   .    28  29 

Powder               28  29 

Lining  Color.    22  22 

Masque   Brown  Brown 

Eyebrow 

Pencil   ....Brown  Brown 

Moist  Rouge.      7  7 
Elderly  Types 

Women  Men 

Foundation   .    25  26 

Powder              25  £6 

Lining  Color.    21  21 

Masque   Brown  Brown 

Eyebrow 

Pencil   ....  Bi-own  Brown 

Moist  Rouge.      8  7 


Film  Footage  Export  Declines 

Preliminary  figures  for  the  first  six 
months  of  1938  for  American  exports 
of  motion  picture  film  both  Negative 
and  Positive  sound,  show  a  decrease  of 
nearly  4,000,000  linear  feet  as  compared 
with  the  corresponding  period  of  1937, 
according  to  Nathan  D.  Golden. 

During  the  first  half  of  1938  a  total 
of  97,473,313  linear  feet  of  negative  and 
positive  film,  valued  at  $2,122,719,  was 
exported  as  compared  with  101,290,716 
linear  feet  with  a  value  of  $2,264,738 
for  the  first  six  months  of  1937. 


Forum  Holds  Successful 
Meeting 

(Continued  from  Page  335) 

Leopold  Stokowsky  and  his  Philadelphia 
Orchestra;  recording  by  Freddy  Martin 
of  a  modern  swing  tune,  the  same  kind 
of  a  recording  by  Tommy  Dorsey,  and  a 
recording  of  a  Walter  Disney  cartoon. 

Yes,  and  there  was  the  unforgettable 
recording  of  Allan  Jones'  "Donkey's 
Serenade."  It  was  worth  traveling  a 
distance  to  hear. 

On  Thursday  afternoon  preceding  the 


352     American  Cinematographer    •    August,  1938 


opening  of  the  conference  there  was  a 
preshowing  of  three  pictures  at  the  F'ox 
West  Coast  Boulevard  Theater  under 
the  auspices  of  Dr.  Boris  Morkovin  of 
the  U.  S.  C.'s  Department  of  Cinema- 
tography. The  subjects  were  "The 
River,"  Government  documentary  film; 
"The  Romance  of  Radium,"  M.  G.  M. 
release,  and  "The  Man  Without  a  Coun- 
try," Warner  Brothers. 

Among  discussion  leaders  at  the  vari- 
ous sessions  were  Dr.  Morkovin,  Boyd 
B.  Rakestraw,  visual  education  depart- 
ment. Extension  Division,  University  of 
California,  Berkeley;  Dr.  William  J. 
Klopp,  sup'^rvisor  secondary  education, 
Long  Beach,  and  Floyd  Crosby,  A.S.C., 
holder  of  Academy  grand  award  1930-31 
for  photography  on  Mirnau's  "Tabu." 

The  following  pictures  were  shown: 
FRIDAY. 

9:30  A.  M.— Heart  and  Circulation, 
ERPI  classroom  film. 

Design  of  an  Idea,  Kodachrome  and 
synchronized,  Frank  Judson,  Art  Center 
School. 

Day  of  Thrashing  in  Iowa,  Terry 
Bessinger  and  George  Volger,  U.  S.  C. 

Educated  Feet,  Beverly  Hills  Schools, 
E.  J.  Hummel,  superintendent;  Roger 
Barlow,  photographer. 

The  Elephant,  presented  by  Paul  L. 
Hoefler,  F.R.G.S.,  producer  of  Africa 
Speaks. 

4  P.  M.— Erpi's  English  Canals  and 
String  Choir,  Edith  Frost's  Leisure  Ac- 
tivity and  Helen  Martin's  Pigs  on  the 
Farm. 

7:30  P.  M.— Our  World,  story  of  high 
school  life,  produced  under  the  supervi- 
sion of  Fremont  High  School,  Los  An- 
geles; C.  A.  Bach,  photography  depart- 
ment; Mrs.  Mabel  Mattison,  dramatic 
direction,  and  Mrs.  Mildred  Percival, 
music  department. 

Comparative  Development  of  Infant 
Human  and  Chimpanzee,  Dewitt  Mytin- 
ger. 

Sequences  from  Cobbler  Captain  of 
Koepenick,  with  German  language  sound. 


SATURDAY. 

9:30  A.  M.— Present  Day  Germany, 
Russell-Wright. 

The  Airliner,  Donavin  Miller,  TAIE 
production. 

Japan,  Kodachrome  synchronized  pres- 
entation by  Fred  Orth,  U.C.L.A. 

Demonstration  on  development  of 
16mm.  projection,  H.  W.  Remerschied 
(the  paper  of  which  is  reprinted  on  an- 
other page). 

2  P.  M.— 

Harbor  Activities,  Emily  Frith — 
Safety  and  The  Pilot. 

Digestion,  University  of  Chicago,  Erpi 
classroom  film. 

Dalighting  the  Padres  Trail,  Castle 
F'ilms. 

The  Mail,  Donavin  Miller,  TAIE  Pro- 
ductions. 

Creative  School  Music,  Lillian  Mohr 
Fox,  supervisor  music,  Pasadena  city 
schools. 

Night  Blooming  Cereus  —  Frances 
Christensen  and  Harry  Merrick. 

Impressions  of  Mexico — Floyd  Crosby, 
A.S.C. 

4    P.    M. — China,    by    Abbe  Charles 


Meeus,  Catholic  Mission,  Haimen,  China, 
showing  rescue  work  of  the  mission.  Boy 
Scouts  saving  children  and  rehabilita- 
tion. 

Edward  Nassour's  preview  of  Wal- 
manettes,  a  third  dimensional  process  of 
animation  in  color. 

Floyd  Crosby's  Life  Among  the  Corals, 
under  sea. 

Erpi's  Navajo  Children,  photographed 
by  John  Haesler. 

Potter's  Wheel,  by  Albert  Bailey. 

7  P.  M.  (shown  following  dinner) — 
Magic  in  Music,  Ralph  Jester,  Para- 
mount. 

Grasshopper  and  the  Ants  (prere- 
lease), by  Walt  Disney. 

Jumps  and  Pole  Vaults,  slow  motion 
photography,  Erpi  Film. 

A  Day  at  Camp  Seeley,  by  W.  J. 
Larivee,  photographer  Los  Angeles  De- 
partment of  Playgrounds  and  Recreation. 

Mount  Zao,  photographed  by  Khoji 
Tsukamoto,  Cherry  (amateur)  Society, 
Japan,  winner  of  prize  for  photography 
in  American  Cinematographer's  contest 
for  1937. 


CLASSIFIED  ADVERTISING 


FOR  SALE 


BELL  &  HOWELL  SINGLE  SYSTEM,  COM- 
plete ;  rebuilt  B&H  sound  printers;  rebuilt 
Duplex  sound  and  picture  printers  ;  200  ft. 
Stinemann  developing  reels ;  used  measuring 
machines.  Complete  Akeley  camera  equipment. 
Akeley  1000-ft.  magazines,  synchronous  camera 
motors.  Motors,  sunshades,  finders,  lenses  antl 
all  accessories. 

Write,   wire  or  cable: 

MOTION    PICTURE    CAMERA    SUPPLY,  INC. 

723  Seventh  Avenue  New  York  City 

Cable:  Cinecamera 

THE  WORLD'S  LARGEST  VARIETY  OF 
Studio  and  Laboratory  equipment  with  latest 
improvements  as  used  in  Hollywood  at  tremen- 
dous savinsrs.  New  and  Used.  Mitchell.  Bell- 
howell,  Akeley,  De  Brie,  Eyemo,  animation 
process  cameras,  lenses,  color  magazines,  adapt- 
ors, lighting  equipment,  silencing  blimps,  dollies, 
printers,  splicers,  moviolas,  motors,  light-testers, 
gear  boxes,  synchronizers.  Guaranteed  optically 
and  mechanically  perfect.  Send  for  bargain 
catalogue. 

HOLLYWOOD   CAMERA  EXCHANGE 
1600  Cahuenga  Blvd..  Hollywood,  Calif. 

Cable:  Hocamex 

WE  BUY,  SELL  AND  RENT  PROFESSIONAL. 
AND  16  mm  EQUIPMENT  NEW  AND  USED. 
WE  ARE  DISTRIBUTORS  FOR  ALL  LEAD- 
ING MANUFACTURERS.  RUBY  CAMERA 
EXCHANGE,  729  Seventh  Ave..  New  York  City. 
Established  since  1910.  

BELL  AND  HOWELL  170°  CAMERAS— High 
speed  shuttles — high  speed  gear  boxes — 400  and 
1000  foot  Bell  &  Howell  magazines— Bell  & 
Howell  tripods — motors.  Mitchell  silenced  cam- 
eras. AKELEY  and  DEBRIE  CAMERAS.  Akeley 
motors.  High  speed  motors.  Sunshades,  lenses 
and  finders. 

Write  or  Wire 
CAMERA  EQUIPMENT,  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 

BELL  &  HOWELL  CAMERA,  Mitchell  type 
shiftover,  check  pawl  movement,  complete 
with  lenses,  friction  head  tripod,  latest  type 
Mitchell  erect  finder,  two  1000  ft.  magazines. 
.$1000.  For  inspection  at  Photo  Supply,  1638 
Cahuenga.  P.  O.  Box  461.  Hollywood.  Calif. 

BELL  &  HOWELL  PROFESSIONAL  CAMERA. 
170  degree  shutter,  semi-silenced  pilot-pin  move- 
ment adjusted  for  bipack.  40mm,  75mm,  4  and 
6  inch  Zeiss  and  Cooke  lenses,  Mitchell  Upright 
finder,  Hoefner  Matte  box,  special  motor,  six 
400ft,  standard  magazines,  bipack  magazines 
and  adapters,  friction  head,  standard  and  baby 
tripods  (Mitchell  legs)  cases,  many  accessories. 
Like  new. 

Box  976,  c\o  AMERICAN  CINEMATOGRAPHER. 


BELL  &  HOWELL  35MM  EYEMO  with  47mm 
f2.5  lens  and  6"  Telephone.  16-24-32  speeds, 
Academy  aperture  view  finder.  Sacrifice.  Billy 
Burke  Prod..  7416  Beverly  Blvd..  Hollywood, 
Cnlif.  WEbster-4133.  

ONE  70  mm.  FEARLESS  silenced  camera;  two 
1000  ft.  magazines :  50.  75  and  100mm  F2 
lenses.  This  equipment  is  in  perfect  me- 
chanical condition.     Write  or  wire. 

CAMERA  EQUIPMENT.  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 

NEW  PRECISION  TEST  REEL  FOR  PROJEC- 
tion  and  Sound.  Developed  by  prominent  SMPE 
member.  Combination  visual,  sound  tests  for 
all  soundtrack  adjustments.  Indicates  travel 
ghost,  sidesway,  picture  jump,  etc.  Contains 
visual  targets  and  constant  level  frequencies. 
W.  E.  Mirrophonic  recording.  Truly  simpli- 
fied, easily  understood.  Comparative  value, 
$75.00.  With  full  instructions,  $29.50.  16mm 
edition.  $17.50.  S.O.S.,  636 — 11th  Ave..  New  York. 

DEBRIE  PARVO— 3"  F3.5  LENS— CASE— 4 
MAGAZINES  —  BELL  &  HOWELL  TRIPOD 
$125.00— DEVRY— EYEMO— BELL  &  HOWELL 
PROFESSIONAL  400-1000  ft.  MAGAZINES. 
WE  BUY— TRADE— SELL.  THE  CAMERA 
MART,  INC.,  70  West  45th  St.,  New  York  City. 

LATEST    TYPE    FEARLESS  VELOCILATOR, 
like  new.  in  perfect  mechanical  condition. 
CAMERA  EQUIPMENT.  INC. 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 

1  MITCHELL  CAMERA  MOTOR  NO.  X79. 
extra  powerful,  new  armature.  Jack  Green- 
halgh,  SUnset-24690. 

WANTED 

WE  PAY  CASH  FOR  YOUR  USED  CAMERA, 
LABORATORY    AND    STUDIO  EQUIPMENT. 

Write,  wire  or  cable 
MOTION    PICTURE   CAMERA   SUPPLY,  INC. 
723  Seventh  Avenue,  New  York  City 
Cable  Address :  Cinecamera 

WE  PAY  CASH  FOR  EVERYTHING  PHOTO- 
GRAPHIC. Write  us  today.  Hollywood  Camera 
Exchange.   1600   Cahuenga  Blvd.,  Hollywood. 

WANTED  TO  BUY  FOR  CASH 
CAMERAS  AND  ACCESSORIES 
MITCHELL,  B&H,  EYEMO.  DEBRIE,  AKELEY 
ALSO    LABORATORY    AND    CUTTING  ROOM 
EQUIPMENT 
CAMERA  EQUIPMENT,  INC. 
1600  BROADWAY,  NEW  YORK  CITi' 
CABLE:  CINEQUIP 


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AMERICAN 
CINEMATOGRAPHER 

HAND  BOOK  and 
REFERENCE  GUIDE 


SECOND  EDITION 

Written  and  Compiled  by 

JACKSON  J.  ROSE,  A.S.C. 


We  wish  you  to  know  that  ♦  ♦  ♦ 

The  success  and  complete  sell-out  ol  our  previ- 
ous Hand  Book  and  Reference  Guide  and  numer- 
ous requests  for  additional  copies  have  prompted 
us  in  preparing  for  publication  the  Second  Edition 
of  the  American  Cinematographer  Hand  Book  and 
Reference  Guide. 

This  Hand  Book  is  indorsed  and  recommended 
by  the  leading  cinematographers  of  Hollywood. 
Full  and  complete  with  the  latest  information  for 
all  types  of  photography.  Professional  35  mm., 
amateur  16  m.m.  and  8  m.m.,  miniature  cameras, 
films,  filters,  lenses,  formulas,  calculators,  color 
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etc.;  it  is  just  jammed  full  of  the  right  kind  of  infor- 
mation, 200  pages  of  it,  all  of  this  printed  on  the 
very  best  paper  with  a  fine  grain  flexible  cover. 
Pocket  size- — the  right  size  that  fits  into  your  pocket. 

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of  Cinematographers 

1782  North  Orange  Drive      Hollywood,  Caliiomia 


Years  of 

uninterrupted  progress 
and  improvement 
have  made  the 

MITCHELL 

the  world^s  leading  camera . . . 
the  camera  for  all  types 
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WEST    HOLLYWOOD.  CALIF. 

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AGENCIES 

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Superior  Pan  to  record  shadow 
detail  is  one  reason  why  so 
many  cinematographers  prefer 
this  Du  Pont  Film. 

For  the  best  results  in  your 
next  production,  rely  on  the 
proven  quality  of  Du  Pont 
Superior  Pan. 


Du  Pont  Film  Manufacturing  Corporation 

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September,  1938    •    American  Cinematogbapher  353 


THE  Bell  &  Howell  Eyemo  Camera  has  been 
engineered  to  master  the  unexpected  .  .  . 
whether  outside  the  studio  or  pinch-hitting  on 
an  interior  set.  The  adaptability  of  the  Eyemo 
has  made  it  the  "right  arm"  of  field  cameramen 
for  many  years.  Now,  new  features  and  improve- 
ments make  it  even  more  versatile  and  depend- 
able. 

Lenses  are  mounted  .  .  .  three  together  ...  on 
a  turret  for  split-second  change.  The  spyglass 
viewfinder  combines  accuracy  and  quick  ad- 
justments for  six  different  field  areas.  Focusing 
and  diaphragm  controls  are  seen  through  the 
viewfinder,  permitting  manipulation  even  while 
shooting. 

Every  model  has  a  handcrank  in  addition  to 
a  powerful  spring  motor.  You  never  will  miss 


anything  because  of  stopping  to  wind  the  motor. 

The  Eyemo  is  as  light  and  compact  as  a  super- 
latively fine  camera  can  be  built ...  so  small  that 
a  tripod  is  not  essential. 

Electric  motors  can  be  added  at  any  time,  or 
one  motor  used  on  several  Eyemos,  because 
Bell  &  Howell  precision  manufacture  makes 
every  camera  a  duplicate  of  others  in  motor 
mounting.  Universal,  12-volt,  or  synchronous 
motors  are  available. 

Sound  can  be  added  to  Eyemo  films.  S.M.P.E. 
standard  sound  aperture  and  matched  view- 
finder  are  available  in  every  model,  and  the  im- 
proved, vibrationless  governor  assures  abso- 
lutely accurate  speeds  .  .  .  from  the  first  to  the 
last  foot  of  film. 

Many  more  Eyemo  features  are  fully  described 
in  literature  which  will  be  mailed  on  request. 

BELL  &  HOWELL  COMPANY 

1848  Larchmont  Avenue,  Chicago 

New  York:  11  W.  42d  St.    •    Hollywood:  716  N.  La  Brea  Ave. 
London:  13-14  Great  Castle  St. 
EstablhheJ  IW 


BELL  &  HO  WELL 


354     American  Cinematographer    •    September,  1938 


AMERICAN 
CINEMATOGRAPHER 


A  Technical  and  Educational  publication 
on  motion  picture  photogrraphy. 

Publinhed  monthly  by  the 
AMERICAN  SOCIETY 
OF  CINEMATOGRAPHERS.  INC. 
1782  North  Orange  Drive 
Hollywood  (Los  Angeles),  California 

Telephone  GRanite  2136 

VICTOR  MILNER,  President. 
FRED  W.  JACKMAN,  Treasurer. 


Vol.  19 


September,  1938 


No.  9 


Contents 

Dr.  Carter  answers  vital  queries  regard- 
ing metal  film  development  356 

By  Dr.  Robert  W.  Carter 

What  microphotography  is  doing  to  make 
records  for  coming  ages  359 

Shooting  strange  men  and  scenes  just 

day's  work  for  Sid  Wagner  361 

By  George  Blaisdell 

Erpi  introduces  sound  recorder  for  pro- 
fessional 16mm.  film  men  364 

Month's   photographic   honors   fall  to 
Daniels  on  'Marie  Antoinette'  366 

Reverse  studio  lighting  methods  to  put 

big  nightspots  on  screen  367 

By  Victor  Milner,  A.S.C. 

Cinematographers'  Ladies'  Night  most 
successful  from  all  angles  369 

Abrams  builds  plane  and  camera  for 
aerial  photographic  mapping  370 

Transfer  "River"  makers  to  National 
Emergency  Council   371 


The  Front  Cover 


THE  face  on  the  front  cover  is 
that  of  Norma  Shearer  as  she  is 
seen  in  MGM's  "Marie  Antoinette." 
That  story  is  one  of  tragedy,  a  trag- 
edy that  clings  to  the  heroine  from 
the  day  of  her  marriage  to  the  heir 
of  the  French  throne  to  that  of  her 
death  on  the  guillotine. 

The  characterization  of  Marie  An- 
toinette marks  the  return  of  Miss 
Shearer  to  the  screen  from  which  she 
retired  following  the  death  of  her 
husband,  Irving  Thalberg.  She  was  a 
great  actress  when  she  left  us.  But 
she  comes  back  to  us  truly  greater. 

Richard  Mansfield  when  reproached 
for  the  mercilessly  abusive  treatment 
in  rehearsal  he  was  bestowing  on  a 
young  woman  replied  that  no  one 
who  had  not  experienced  suffering 
could  portray  it.   The  young  woman 


in  question  previously  had  never  ex- 
perienced suffering. 

It  is  submitted  "Marie  Antoinette" 
is  a  rare  subject  for  transfer  to  Dr. 
Robert  Carter's  metal  film,  if  that 
may  be  accomplished  through  duplica- 
tion,-— and  at  this  distance  we  believe 
it  could  be  done.  Then  succeeding 
generations  might  see  for  themselves 
what  the  motion  picture  industry  in 
1938  could  achieve  in  the  way  of  re- 
cording history  of  a  hundred  and 
fifty  years  earlier. 

The  production  was  photographed 
by  William  Daniels,  A.S.C,  and  for 
the  quality  of  his  work  the  Holly- 
wood Reporter  poll  for  July  gave  him 
the  photographic  palm.  The  photog- 
rapher responsible  for  the  still 
picture  here  reproduced  is  Laszlo 
Willinger. 


The  Staff 


EDITOR 

George  Blaisdell 

WASHINGTON 
STAFF  CORRESPONDENT 
Reed  N.  Haythome,  A.  S.  C. 

TECHNICAL  EDITOR 
Emery  Huse,  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 

A.  S.  0. 
A.  S.  C. 
A.  S.  C. 
A.  S.  C. 
A.  S.  C. 
A.  S.  C. 
A.  S.  C. 
A.  S. C. 
A.  S.  C. 
A.  S.  C. 
A.  S.  0. 


Victor  Milner, 
James  Van  Trees, 
Fred  W.  Jackman, 
Farciot  Edouart, 
Fred  Gaee, 
Dr.  J.  S.  Watson, 
Dr.  L.  A.  Jones, 
Dr.  C.  E.  K.  Mees, 
Dr.  W.  B.  Rayton, 
Dr.  Herbert  Meyer, 
Dr.  V.  B.  Sease, 


CIRCULATION  MANAGER 
L.  F.  Graham 

NEW  YORK  REPRESENTATIVB 

S.  R.  Cowan,  19  East  47th  St,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 
Georses  Benoit,  100  Allee  Ftenklin, 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 

AUSTRALIAN  REPRESENTATIVE 

McGill's,  179  Elizabeth  Street,  Melbourne, 
Australian  and  New  Zealand  agents. 

Neither  the  American  Clnematographer  nor 
the  American  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. This  magazine  will  not  be  respon- 
sible for  unsolicited  manuscripts. 


ESTABLISHED  1920.  Advertising  Rates  on  application.  Subscription:  United  States,  $2.50  a  year;  Canada  and  the  Pan-American  Union.  $2.50  a  year; 
Foreign,  $3.50  a  year.  Single  copies,  25  cents;  back  numbers,  30  cents;  foreign,  single  copies,  35  cents;  back  numbers,  40  cents.  COPYRIGHT  1938  by 
American  Society  of  Cinematographers,  Inc. 


Entered  ai  second  class  matter  November  U,  1N7,  at  the  post  office  at  Los  Angeles,  California,  under  the  Act  of  March  8,  1879. 


September,  1938    •    AMEaiiCAN  Cinematographer  355 


#  Mil  I  tlx 


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356     American  Cinbmatographer    •    September,  1938 


Dr.  Carter  Answers  Vital  Queries 
Regarding  Metal  Film  Development 

Laboratory  Experts  Astonished  at  Developing-  and 
Fixing  Speed — Absence  of  Grain  in  Emulsion  Noted 
— Splicing  and  Editing  as  Simple  as  Cementing 
Celluloid— No  Major  Change  in  Projection 
or  Other  Equipment — 16mm  Progress 
on  Identical  Plane  as  35mm's. 

By  DR.  ROBERT  W.  CARTER 

of  the  Taylor-Shane  Corporation  of  New  York 


in. 

IN  THE  last  two  articles  we  confined  ourselves 
largely  to  the  development  of  metal  film  up  to 
the  year  1937.  The  two  articles  brought  in  such 
widespread  and  important  inquiries  that  we  have 
been  able  to  form  a  definite  opinion  regarding  the 
keen  interest  in  metal  film  and  its  projection. 

The  questions  range  from  highly  technical  points 
regarding  the  reproduction  of  sound  from  metal 


Dr.  Robert  W.  Cwrter 


film  to  practical  points  about  speed  of  exposure,  de- 
velopment and  fixing  of  the  image  on  metal. 

Tests  in  the  laboratory  of  the  International  News 
Service  with  positive  emulsion  gave  printing  time 
ranging  from  1  10  of  a  second  to  V2  a  second  in 
standard  photographic  printing  equipment. 

Technical  experts  at  the  laboratory  were  aston- 
ished at  the  speed  of  developing  and  fixing.  By  actual 
timing  the  entire  printing  process  took  exactly  four 
minutes.  We  refer  of  course  to  a  contact  print  in  a 
standard  printing  frame. 

The  four  minutes  was  divided  into  one  minute 
for  loading  the  frame,  V-j,  second  for  exposure,  6 
seconds  in  the  developing  bath,  and  the  balance 
of  the  time  was  taken  up  in  fixing,  washing  and  dry- 
ing with  electrical  drying  unit.  The  developers  used 
were  standard  metol  and  hydro-quinone.  In  second- 
ary tests  we  used  amidol  and  in  fixing  alcoholic 
solutions  of  hypo  and  alum. 

Fine  Grain  on  Metal  Prints 

These  printing  tests  took  place  in  series  over  a 
period  of  three  weeks.  Critical  examination  of  the 
metal  strip  indicated  no  chemical  reaction  has  taken 
place  to  aflfect  the  metal  or  the  printed  image.  It 
seemed  a  difficult  matter  to  fog  the  emulsion  even 
with  a  60  watt  Ruby  lamp. 

All  the  operations  in  the  darkroom  were  carried 
out  under  the  same  light  that  the  laboratory  uses 
for  making  bromide  paper  prints.  The  phenomenon 
that  impressed  the  technicians  in  the  photographic 
laboratory  was  the  absence  of  grain  in  the  emulsion 
on  metal. 

The  print  finished  in  less  than  four  minutes 
showed  much  less  grain  than  the  standard  print  on 
paper  developed  in  fine  grain  developers,  the  latter 
print  taking  over  30  minutes. 

Negative  on  Metal  Film 

It  becomes  obvious  that  for  metal  the  mind  has 
to  become  oriented  to  appreciate  this  new  medium 
in  photography.  We  have  developed  negative  and 
positive  emulsions  that  have  a  high  gamma  infinity ; 
that  are  free  from  fog,  even  under  the  lighting  con- 
ditions described,  and  have  as  high  velocity  content 
as  cellulose  emulsions. 

The  advantage  of  such  emulsions  for  motion  pic- 


September,  1938    •    American  Cinematographer  357 


ture  negative  will  more  than  offset  any  difficulty 
that  may  be  experienced  in  printing. 

Many  of  our  correspondents  were  worried  about 
editing  negatives  on  metal.  We  have  worked  out  a 
simple  method  for  splicing  that  is  not  more  trouble- 
some than  the  method  used  for  cementing  cellulose 
film. 

When  the  negative  is  made  and  edited  it  will  be 
permanent,  fadeless  and  indestructible.  The  original 
metal  negative  will  be  preserevd  in  the  usual  man- 
ner. Duplicates  are  made  with  standard  optical 
printing  by  reflected  light. 

Scientific  Proof 

To  offset  another  misconception  we  print  herewith 
the  actual  reflection  tests.  This  test  established  the 
fact  that  the  metal  ribbon  has  a  higher  reflection 
factor  and  is  more  effective  for  optical  printing  than 
printing  by  transmitted  light  through  cellulose  film. 
We  believe  that  this  should  save  the  industry  thou- 
sands of  dollars  on  insurance  rates  and  storage  costs 
and  fire  hazard. 

Copying  Books  on  Metal  Film 

We  would  like  the  many  readers  of  the  Cinema- 
tographer who  are  interested  in  microfilm,  manu- 
scripts, books,  etc..  to  know  that  we  will  be  able  to 
put  images  on  both  sides  of  our  metal  film.  This 
means  that  the  reproduction  of  books  such  as  the 
Encyclopaedia  Britannica  with  its  25,000  pages,  814 
by  111/2  inches,  weighing  126  pounds  and  occuiDying 
a  cubic  area  of  4036  cubic  inches  can  be  microfilmed 
on  metal  to  weigh  6  ounces  and  occupy  a  space  of  10 
cubic  inches. 

To  the  many  who  inquired  about  the  permanent 
reproduction  of  programs  at  radio  stations  we  are 
pleased  to  report  that  this  may  be  done  very  eco- 
nomically on  narrow  strips  of  metal  film  giving 
accurate  tonal  reproduction  in  the  higher  cycles. 

This  record  of  course  will  be  permanent,  fadeless 
and  economical.  We  have  already  constructed  a 
simple  reading  machine  for  metal  film. 

Metal  Film  for  16mm. 

We  must  apologize  to  the  many  readers  interested 
in  16mm  projection.  In  our  articles  we  have  neg- 
lected to  mention  this  important  field.  We  already 
have  emulsions  developed  for  microfilm  on  metal 
that  will  give  superior  photographic  images  with 
16mm  projection. 

We  are  confident  that  when  production  is  com- 
menced the  price  will  not  exceed  cellulose  film  with 
the  added  features  of  strength,  permanence  and 
positive  non-inflammability.  The  technique  for  de- 
veloping will  give  the  same  speed  and  the  use  of 
the  film  in  the  projection  machine. 

We  believe  that  16mm  projection  machines  for 
the  future  will  be  fitted  with  our  attachment  for 
opaque  projection. 

For  schools,  auditoriums,  churches,  etc.,  metal 
film  will  mean  absolute  safety,  superior  projection, 
low  costs  for  the  film  and  unusual  economy  because 
of  long  life  and  permanence. 

Vital  Questions  on  Sound 

To  return  to  the  major  motion  picture  field,  the 
greatest  number  of  questions  centered  on  the  quality 
of  the  image.  Sound  constituted  the  second  leading 
question,  and  the  third  most  important  was,  "What 
changes  of  equipment,  technique,  etc.?" 

To  the  first  question  we  should  explain  that  an 
accurate  photographic  sound  track  on  a  smooth  fine- 


grained highly  reflective  surface  is  a  finer  medium 
for  sound  reproduction  than  cellulose. 

In  the  cellulose  film  the  light  is  refracted  in  vari- 
ous directions  while  passing  through  the  cellulose 
stock.  It  is  well  understood  that  background  noises 
and  lack  of  definition  in  sound  is  the  basic  reason 
why  cellulose  acetate  film  is  not  in  general  use  even 
with  its  safety  factors. 

With  the  metal  film  the  beam  of  the  exciting  lamp 
is  concentrated  on  the  sound  track  at  an  angle  of  25 
degrees.  The  reflected  light  from  the  one  mill  slit 
passes  through  two  condensing  lenses  to  the  photo 
electric  cell.  The  rest  of  the  sound  system  is  stand- 
ard equipment. 

The  sound  track  on  metal  gives  a  clear  sound  re- 
production free  from  fuzzyness  and  distortion.  The 
fact  that  the  light  beam  is  reflected  direct  from  the 
sound  track  without  any  interference  is  the  reason 
for  superior  sound  reproduction  in  the  higher  cycles. 

A  study  of  the  last  article  together  with  the 
reproduction  of  the  reflection  test  answers  the  ques- 
ion  how  first  class  images  are  secured  on  the  screen. 
It  must  be  remembered  that  the  highlights  of  the 
picture  are  the  reflected  light  from  the  metal  surface. 

This  surface  may  give  specular  reflection  or  a 
diffused  reflection,  in  the  same  manner  that  projec- 
tion screens  give  specular  or  diffused  reflections. 
The  surface  of  the  metal  may  be  treated  to  give  both 
types  of  reflection. 

The  shadow  of  the  picture  is  the  absence  of  re- 
flected light  in  the  same  manner  that  the  shadow 
is  the  absence  of  light  by  transmitted  projection. 
We  have  thus  only  the  fine  gradations  of  tone  be- 
tween the  highlight  and  the  shadow  for  con- 
sideration. 

In  theory  it  would  appear  that  we  would  lose 
detail  because  of  the  fact  that  the  light  must  pass 
through  the  photographic  emulsion  to  the  reflecting 
surface  and  then  back  through  the  emulsion. 

It  was  supposed  that  this  double  passage  of  the 
light  through  the  emulsion  would  affect  our  repro- 
duction of  the  middle  tones.  We  find  in  actual  pro- 
jection that  the  middle  tones  are  rendered  as  accu- 
rately on  the  screen  from  opaque  film  as  from 
cellulose  film. 

Scratching 

The  question  of  scratching  the  image  has  occurred 
frequently.  We  might  briefly  say  that  the  image 
may  be  hardened  to  any  extent  on  metal,  as  the 
chemical  reaction  is  only  concerned  with  the  emul- 
sion, the  metal  not  being  affected  by  this  group  of 
chemicals. 

It  should  als"o  be  made  known  that  tough  trans- 
parent baking  lacquers  may  be  used  on  metal  with- 
out affecting  projection  qualities.  With  the  projection 
gate  properly  adjusted  we  have  not  experienced 
scratching  after  prolonged  use  with  metal  film. 

Optical  System  for  Projection 

Some  of  your  readers  will  still  be  anxious  to 
know  what  optical  system  was  finally  adopted  in  our 
first  machine.  We  have  reduced  this  to  two  reflecting 
surfaces  plus  the  objective  lens.  This  was  only  pos- 
sible because  the  metal  will  stand  high  temperature 
together  with  a  mirror  that  has  withstood  the  direct 
rays  of  the  lamp  for  many  operating  hours  without 
deteriorating. 

In  short,  the  light  is  reflected  from  the  carbons 
direct  to  a  mirror,  from  the  mirror  to  the  metal  film 
at  the  projection  gate,  then  from  the  lens  to  the 


358     American  Cinematographer    •    September,  1938 


ElectricalTesting  Laboratories 

GENERAL  OFFICE   AND  LABORATORIES 
eO'"  ST    AND  EAST   END  AVE 
NEW  YORK 

RKPORT  NO. 144723 
REFLECTION  FACTOR  OF  TJO  SAJTLES  AITD 

TRANOTSSION  FACTOR  OF  ONE  SA^!PLE 
Rendered  to  Taylor-Sloane  Corporation 
Order  No. 68703 -S 

o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o 
Data  Requested 

Reflection  factor  for  each  of  two  samples  and  transmission 
factor  for  a  third  sample,  the  reflection  factors  to  be  determined 
with  the  Incident  light  making  an  angle  of  less  than  25®  with  the 
normal  to  the  reflecting  surface. 

Authorization 

Personal  application  of  Dr.  Robert  W.  Carter. 

Material  Submitted 

One  front  surface  silver  mirror  covered  with  a  protecting 
coat  of  lacquer;  one  strip  of  metal  ribbon  35  millimeters  yride;  one 
strip  of  exposed  and  developed  35-millimeter  film. 

Test 

•Rie  reflection  factor  of  each  sanple  was  measured  for  an 
angle  of  incidence  of  less  than  25*.    Transmission  measurwnents  were 
made  on  the  upper  portion  of  one  frame  of  film  distinguished  by  the 
heading  '♦Part  I,  Introduction". 

Results  of  Test 

The  results  of  test  are  given  in  the  following  table: 

Transmission  Reflection 
 Sample  Factor  Factor 

Front  surface  silver  0.94 
Metal  ribbon  0,89 
Film  0.77 


J^pproved  by 


Kiigineer7^bot(n«tric  Department.  In  Charge/^  Test 

Copied  by:  MA.  Checked  \>Y:'Ly^  May  17,  1938, 


September,  1938    •    American  Cinematographer  359 


screen.  We  have  thus  eliminated  the  two  condensing 
surfaces. 

The  mirror  that  we  use  gives  us  a  reflection  of  90 
per  cent.  The  actual  light  reaching  the  film  is  thus 
much  higher  than  the  light  passing  through  the 
cellulose  film.  The  shutter  and  other  factors  on  the 
machine  are  standard. 

Color 

It  should  be  noted  here  that  high  intensity  of  light 
reflected  upon  the  film  predicts  unusual  reproduction 
for  color.  We  have  projected  some  color  film,  and  we 
believe  that  with  the  cooperation  of  this  section  of 
the  industry  we  will  be  able  to  show  results  with 
metal  color  film  superior  to  nitrate  film  with  the 
added  features  of  an  almost  third  dimension  effect. 

We  are  preparing  emulsions  in  the  laboratory  for 
experimental  three-color  film  on  35mm  film. 

In  conclusion  we  believe  that  we  have  established 
for  all  time  the  fact  that  metal  film  and  the  projec- 
tion of  metal  film  is  now  an  accomplished  fact. 

We  submit  that  we  have  proved  beyond  any  doubt 
the  eflSciency  and  economy  possible  in  metal  film. 

We  realize  that  our  path  has  been  a  lonesome  one 


and  our  progress  has  been  slow  and  painful.  The 
birth  of  our  research  dates  further  back  than  the 
inception  of  the  motion  picture  industry.  We  have 
had  little  or  no  encouragement  from  scientists  or 
technicians  in  our  work. 

We  feel  that  we  have  made  a  major  contribution 
to  the  technical  development  of  a  great  industry. 
We  are  also  justified  in  believing  that  we  are  making 
a  permanent  contribution  to  civilization  with  the 
perfection  of  a  dependable  permanent  photographic 
film  record. 

The  name  of  the  first  small  company  formed 
nearly  twenty  years  ago  was  "Permanent  Records 
Corp."  We  have  not  swerved  from  our  first  objective. 
We  set  out  to  develop  a  process  for  making  per- 
manent records  on  metal;  whether  this  record  may 
be  a  film  for  motion  pictures  or  the  reproduction  of 
the  lectures  by  Dr.  Einstein  it  did  not  matter.  The 
final  goal  was  the  same  in  either  case. 

The  permanent  reproduction  of  a  photographic 
image  on  metal  at  a  price  compatible  with  modern 
requirements  marks  the  end  of  our  research.  The 
commercial  development  and  exploitation  we  must 
rest  in  other  hands. 


JVhat  Microphotography  Is  Doing 
to  Make  Records  for  Coming  Ages 


THE  story  of  the  restoration  of 
historic  American  sites,  accom- 
plished with  the  aid  of  micro- 
photography — ^the  new  science  which  per- 
mits the  photographic  preservation  of 
priceless  manuscripts  and  records — is 
told  in  the  current  issue  of  the  Journal 
of  Documentary  Reproduction  in  a  re- 
port by  Alvin  P.  Stauffer,  chief  of  the 
Research  Division,  Branch  of  Historic 
Sites  and  Buildings  of  the  National  Park 
Service.  The  Journal  is  published  quar- 
terly by  the  American  Library  Associa- 
tion, Chicago. 

The  connection  between  a  national 
park  and  microphotography  might  seem 
far-fetched,  if  it  were  not  for  the  fact 
that  the  service  has  found  microfilming 
invaluable  in  collecting  and  preserving 
historical  and  archeological  material, 
both  written  and  printed. 

The  Service,  Mr.  Stauffer  writes,  is 
now  able  to  obtain  complete,  accurate 
and  permanent  records  of  source  data  in 
a  more  satisfactory  manner  than  with 
the  earlier  typewritten  or  longhand 
transcriptions. 

Legibility  Enhanced 

In  investigating  Revolutionary  sites, 
Spanish  missions  and  other  remains  of 
the  Colonial  period,  researchers  have 
been  able  to  reproduce  seventeenth  and 
eighteenth  century  documents  more  legi- 
bly on  film  than  their  stained  and  faded 
condition  might  otherwise  permit. 

One  project  now  under  way  involving 
100,000  negatives  is  undertaking  to 
gather  in   one  place  widely  scattered 


material  relating  to  the  military  opera- 
tions at  Yorktown  in  1781. 

The  tremendous  job  of  preparing  a 
photographic  inventory  on  microfilm  of 
no  less  than  50,000  art  objects  in  the 
study  collection  of  the  Pennsylvania 
Museum  of  Art  in  Philadelphia  is  de- 
scribed in  detail  in  this  issue  of  the 
Journal  by  Paul  Vanderbilt,  museum 
librarian,  and  Howard  Cadwallader,  tech- 
nician. 

Not  only  has  this  revolutionary  method 
made  it  possible  to  produce  needed  pho- 
tographic records  with  a  high  degree  of 
efficiency  but  the  authors  foresee  the 
possibility  of  a  national  micro-inventory 
of  all  art  objects  in  American  museums. 

The  fascinating  task  of  recording  a 
complete  cross  section  of  our  civiliza- 
tion to  be  preserved  at  Oglethorpe  Uni- 
versity in  a  "crypt  of  civilization"  for 
posterity  6,000  years  hence  is  related 
by  T.  K.  Peters,  archivist  at  the  univer- 
sity. 

All  documents,  books  and  photo- 
graphs, motion  picture  and  sound  rec- 
ords are  being  reproduced  on  cellulose 
acetate  film  and  on  thin  metal  film  to 
insure  permanence.  The  university  is 
also  preparing  a  complete  history  of 
the  United  States  in  still  and  motion 
pictures. 

"Every  contingency  has  been  carefully 
thought  out  and  scientifically  provided 
for,"  Mr.  Peters  points  out.  "Even  the 
possibility  that  the  English  language 
may  no  longer  be  spoken  has  been  vis- 
ualized, and,  by  an  ingenious  device 
which    will    reconstruct    3,000  English 


words,  the  people  of  the  future  may  see 
and  hear  how  we  speak  English  today." 

In  a  resume  on  the  microphotography 
demonstration  at  the  Paris  Exposition 
Dr.  M.  Llewellyn  Raney,  director  of 
University  of  Chicago  libraries,  an- 
nounced that  among  honors  bestowed  by 
the  French  authorities,  highest  honors 
were  awarded  the  American  Library 
Association  and  the  University  of  Chi- 
cago for  the  exhibit,  and  gold  and  silver 
medals  to  several  organizations  and 
individuals  who  participated.  Filmed  at 
the  exposition  were  more  than  15,000 
feet,  or  200,000  pages,  of  French  revolu- 
tionary journals  and  many  issues  of  Le 
Temps. 

Employed  by  Census  Bureau 

"The  Use  of  Microfilm  in  the  Btireau 
of  Census,"  by  T.  F.  Murphy,  chief 
statistician  for  publications  and  records, 
reports  on  the  work  of  the  government's 
largest  statistical  unit  in  preserving  its 
ancient  records,  conserving  space  and 
keeping  pace  with  modern  developments 
in  census  work. 

Irvin  Stewart,  chairman  of  the  com- 
mittee on  scientific  aids  to  learning, 
summarizes  the  results  of  surveys  on  the 
reading  of  microfilm.  Essential  features 
of  wall  type  projectors  are  analyzed  by 
Ralph  H.  Carruthers  of  the  New  York 
Public  Library. 

Other  articles  are:  "Film  Storage  in 
Hospitals,"  by  Stella  F.  Walker,  medical 
statistician  and  librarian.  Cook  County 
Hospital,  Chicago;  "The  Holbrook  Micro- 
filming Camera,"  by  J.  K.  Holbrook,  and 
"Notes  on  the  Selection  of  Cellulose 
Acetate  Film  for  Record  Purposes,"  by 
B.  W.  Scribner,  chief  paper  section, 
National  Bureau  of  Standards. 

Technical  and  news  notes  include  re- 
ports of  new  devices,  materials  and  new 
projects,  lists  of  microfilm,  and  news  of 
other  activities  in  the  world  of  micro- 
photography. 


360     American  Cinejmatographer    •    September,  1938 


As  Standard  as 
THE  AMERICAN  MOVIE 


MONTH-AFTER-MONTH  check-ups  invari- 
ably show  that  the  bulk  of  motion  picture 
productions  are  filmed  on  Eastman  Super 
X.  Prime  reason  is  consistently  superlative 
photographic  quality.  Like  the  American 
motion  picture  itself,  Super  X  is  the  world's 
standard  of  excellence.  Eastman  Kodak  Co., 
Rochester,  N.  Y.  (J.  E.  Brulatour,  Inc.,  Dis- 
tributors, Fort  Lee,  Chicago,  Hollywood.) 


EASTMAN  SUPER  A 

PANCHROMATIC  NEGATIVE 


September,  1938    •    American  Cinematographer  361 


Shooting  Strange  Men  and  Scenes 
Just  Day 's  W irk  for  Sid  M'^agner 

A.  S.  C.  Man  Has  Traveled  World  Around  with  His 
Cameras,  Suffered  Fierce  Cold  at  Night  and 
Great  Heat  by  Day  in  Equatorial  Kenya, 
Known  Thrill  That  Goes  with  Holding- 
Fast  to  Struggling  Python  and  Felt 
Hunger  Accompanying  Shipwreck 


T  THE  ladies'  night  at  the  home  of 
/-%  the  American  Society  of  Cinema- 
tographers  July  30  among  those 
present  were  Mr.  and  Mrs.  Sidney  (Sid) 
Wagner.  It  was  the  first  time  either  of 
the  two  had  been  within  the  walls  of  the 
building  that  for  considerably  more  than 
a  year  and  a  half  has  been  the  home  of 
the  A.  S.  C. 

For  this  seeming  neglect  to  give  at 
least  a  onceover  to  these  spacious  quar- 
ters there  was  a  perfectly  good  alibi. 
During  the  greater  part  of  the  time  the 
A.  S.  C.  has  been  settled  in  its  North 
Orange  drive  home  Sid  Wagner  has  been 
on  the  move.  In  fact  he  has  been  on  the 
go  around  the  world  during  the  last  four 
years. 

In  the  comparatively  long  period  he 
has  been  doing  camera  work  for  the 
studios  he  has  covered  all  of  Europe, 
much  of  Africa,  the  South  Seas,  the 
Philippines,  Japan,  China,  Siam  and 
India.  In  the  Americas  there  have  been 
Canada,  Mexico  and  Cuba.  At  the  end 


Sid  Wagner  on  his  home  ground  in  Los 
Angeles 


By  GEORGE  BLAISDELL 

of  May  for  several  weeks  he  stood  by 
prepared  at  an  hour's  notice  to  jump  for 
an  aeroplane  trip  to  the  jungles  border- 
ing the  Amazon  1400  miles  from  its 
mouth. 

Instead  of  that,  however,  he  was 
shunted  by  MGM  to  Nebraska  with 
Director  Norman  Taurog,  Spencer  Tracy 
and  Mickey  Rooney  and  a  big  crew  to 
make  scenes  for  "Boys'  Town,"  the  story 
written  around  Nebraska's  famous  insti- 
tution. That  production,  however,  now  is 
"in  the  box." 

To  bring  this  introduction  up  to  the 
present  writing  (August  10)  it  was  on 
the  4th  of  the  present  month  this  writer 
visited  the  cameraman  at  his  home. 
There  was  no  mention  at  that  time  of 
any  away  from  home  assignment.  Yet 
it  was  only  four  days  later  we  learned 
Sid  Wagner  was  that  day  leaving  with 
Director  Richard  Rosson  for  the  East  by 
plane  to  do  preparatory  work  on  MGM's 
"Great  Waltz." 

Seen  Much  Flying 

There's  much  of  that  plane  stuff  in 
Wagner's  everyday  work.  There  probably 
have  been  well  over  forty  thousand  miles 
of  it  in  the  last  year  and  a  half.  Yet  he 
has  found  it  a  much  pleasanter  and  more 
fortunate  means  of  transportation  than 
he  has  by  sea — at  least  in  one  notable 
instance.  But  that's  another  story. 

In  all  the  wanderings  possibly  none 
has  contained  more  interest  for  a  man 
accustomed  to  strange  scenes  and  haz- 
ards above  the  ordinary  than  the  assign- 
ment to  photograph  the  exteriors  for 
Twentieth  Century-Fox's  "Stanley  and 
Livingstone"  in  authentic  locations  in 
Africa. 

It  was  in  June  of  1937  when  the  troupe 
of  twenty  technicians  under  the  super- 
vision of  Mrs.  Martin  (Osa)  Johnson  and 
headed  by  Director  Otto  Brower  headed 
for  far  off  Africa.  The  script  called  for 
a  journey  over  the  thousand-mile-long 
path  described  by  Henry  Morton  Stanley 
in  his  journal  written  in  1872  during  his 
search  for  David  Livingstone,  lost  ex- 


plorer. Stanley  was  in  the  employ  of 
the  New  York  Herald. 

Wagner  took  a  plane  at  Southampton 
England,  direct  for  Nairobi,  near  the  east 
coast  of  the  Dark  Continent,  as  once 
Africa  was  known,  but  it  is  far  from 
being  as  dark  in  the  present  generation. 
With  him  went  a  heavy  load  of  camera 
equipment. 

Crew  Builds  Crane 

At  Nairobi  the  expedition  was  out- 
fitted. Studio  wardrobe  and  property  de- 
partments had  passed  up  the  usual  prac- 
tice of  doing  that  on  the  lot.  Clothing, 
canned  foods,  medical  supplies  and  every- 
thing necessary  were  secured  in  the 
locale  where  they  would  be  used. 

While  in  Nairobi  the  crew  built  a  port- 
able crane,  or  boom,  of  2  by  12  inch  tim- 
ber. It  had  a  lens  height  range  from  1 
foot  to  22  feet.  It  was  mounted  on  a  ro- 
tambulator,  and  could  be  used  practically 
in  any  location.  It  could  be  either  de- 
mounted or  assembled  in  an  hour.  Inci- 


Sid  Wagner  in  alternating  African  lieat 
and  cold 


362     American  Cinejwatographer    •    September,  1938 


dentally  it  was  a  never  ending  object  of 
attention  from  the  natives,  of  a  combina- 
tion of  amazement  and  admiration. 

The  safari  consisted  of  200  natives. 
Besides  these  there  were  three-score 
others  who  acted  as  personal  servants, 
while  others  were  attached  to  the  camp 
of  the  troupe.  The  objective  was  Ujiji, 
on  Lake  Tanganyika.  Between  that  point 
and  Nairobi  frowned  old  Mount  Kiliman- 
jaro, rising  19,324  feet. 

In  spite  of  the  fact  the  journey  was 
in  equatorial  country,  Nairobi  being  less 
than  a  hundred  miles  below  the  line  and 
Ujiji  less  than  four  hundred,  the  tem- 
perature at  times  at  night  was  found  to 
be  the  fierce  cold  attaching  to  an  eleva- 
tion of  eight  thousand  feet,  which  height 
was  attained  in  circling  the  formidable 
Kilimanjaro. 

Twenty-six  trucks  were  employed  to 
transport  the  crew.  Particular  attention 
was  paid  to  feeding  not  only  the  troupe 
but  the  natives.  The  supply  of  fresh 
meat  was  more  than  ample  and  of  the 
best.  Guaranteeing  this  were  the  rifles 
of  Mrs.  Johnson  and  the  white  hunters 
accompanying  the  party. 

The  camera  crew  had  the  use  of  the 
late  Martin  Johnson's  equipment,  includ- 
ing camera  car  and  darkroom,  dehy- 
drators  and  desiccators,  the  whole  built 
as  a  trailer  house.  Everything  was  air- 
tight. The  vehicle  carried  its  own  ice- 
boxes so  the  crew  could  make  cubes  as  it 
traveled. 

Prairie  Fires 

The  main  difficulties  on  the  photo- 
graphic side  were  caused  by  the  neces- 
sary efforts  to  keep  the  film  dry  in  the 
face  of  humidity  and  moisture  during 
the  course  of  the  rainy  season.  The  draw- 
ing of  the  moisture  by  the  sun  caused 
haze  that  was  something  new  to  the 
travelers,  resulting  in  an  unending  battle. 

Another  difficulty  encountered  by  the 
troupe  was  the  high  grass.  It  was  desired 
for  locations  at  times.  The  trucks  would 
be  halted  for  a  night's  camp  and  a  loca- 


tion spot  for  the  morrow  at  the  end  of 
a  trek  of  perhaps  a  hundred  miles,  that 
being  the  average  maximum  distance 
possible  in  a  ten  hour  run  in,  a  route  off 
the  beaten  path. 

During  the  night  natives  would  set  fire 
to  the  grass.  There  were  several  reasons 
for  the  action,  among  them  the  excellent 
one  that  when  the  grass  extended  above 
their  heads  their  "visibility"  was  ex- 
tremely limited  and  their  safety  from 
the  hazards  of  travel  and  of  the  hunt  ac- 
cordingly restricted.  There  was  not  much 
to  be  done  about  it  so  far  as  the  natives 
were  concerned,  for  in  that  particular 
respect  they  could  not  be  controlled.  The 
only  recourse  was  to  move  on. 

There  was  one  phase  of  these  fires 
which  Sid  Wagner  did  not  touch  upon 
in  his  chat.  We  quote,  however,  from  a 
report  to  the  Fox  company  of  Director 
Brower: 

"Once  a  grass  fire  almost  trapped  us, 
sweeping  down  with  such  speed  from  all 
sides  that  our  natives  cleared  a  space 
just  in  time,"  said  the  director.  "For 
miles,  as  far  as  we  could  see,  the  fires 
raged,  and  at  night  it  was  as  bright  as 
in  the  daytime.  The  cameramen  risked 
their  lives  several  times  to  shoot  thou- 
sands of  feet  of  the  blaze. 

Fire  Starts  Stampede 

"The  fire,  of  course,  started  a  stampede 
of  animals.  The  British  government  esti- 
mates there  are  ten  million  animals  run- 
ning wild  on  the  Tanganyika  plains  and 
you  can  imagine  what  a  pandemonium 
the  blazes  caused. 

"At  night  we  could  hardly  sleep  for 
the  bellowing  of  elephants  and  the 
shrieks  of  other  wild  game  in  flight,  and 
the  native  scouts  always  were  on  a  look- 
out for  a  stampede  that  might  engulf 
us.  The  Uganda  elephants  were  our  most 
dangerous  enemies.  Although  the  govern- 
ment has  had  open  hunting  season  on 
them  for  years,  we  saw  literally  tens  of 
thousands  during   our   months   in  the 


jungle  and  shot  reels  of  film  on  charges 
of  the  big  tuskers." 

During  the  four  or  more  months  actu- 
ally on  location  exposed  film  was  returned 
to  Los  Angeles  every  week.  It  was 
shipped  by  courier  to  Nairobi,  and  from 
that  point  by  air  to  London,  approxi- 
mately 7500  miles  di.stant  by  ordinary 
commercial  routes. 

None  of  the  nearly  hundred  thousand 
feet  of  film  shipped  by  air  to  London,  by 
fast  ships  to  New  York  and  across 
country  by  air,  was  lost  either  by  acci- 
dent or  defect  in  exposure  or  in  prepar- 
ing for  shipment. 

The  raw  stock  or  original  film  was  all 
in  sealed  tins  wathin  tins  and  vacuum 
packed.  Following  exposure  the  film  was 
desiccated,  or  dried,  for  twenty-four 
hours  to  free  it  from  humidity  or  mois- 
ture. Then  it  was  sealed  and  waxed  and 
placed  in  double  tin  containers  and  care- 
fully cased  and  again  sealed  for  ship- 
ment. Every  precaution  was  taken  the 
sealing  was  so  tight  that  no  air  could 
penetrate. 

14,000  Miles— 12  Days 

The  average  time  for  travel  from 
Nairobi  to  Los  Angeles  by  land  and 
water  was  about  five  weeks.  By  air  and 
water  the  time  was  reduced  as  low  as 
twelve  days.  From  that  up  to  sixteen 
days  was  the  record  established  by  the 
company. 

Wagner  had  a  pretty  good  idea  as  to 
the  condition  of  the  film  when  it  left 
camp.  On  every  "set-up"  use  would  be 
made  of  the  portable  developing  box  that 
was  sure  to  accompany  the  camera — with 
developing  fluid,  ice  cubes  and  ice  water 
and  fixing  bath. 

A  small  strip  test  of  a  dozen  frames 
would  be  made  before  shooting.  In  case 
of  any  doubt  whatever  another  test  would 
be  made  after  the  exposure.  This  film 
then  would  be  dried  and  filed,  with  a 
complete  record  of  its  identity.  If  later 
on  the  laboratory  back  in  Los  Angeles 


Taking  close  shots  of  Kikuyu  native  warriors.  From  behind  camera  Sid  Wagner  is  talking  with  Director  Otto  Brower.  On 
the  bank  acting  as  interpreter  is  Captain  Vivian  Ward,  white  hunter.  It  will  be  noted  other  warriors  are  hard  by  with  their- 
spears.  On  the  right  the  camera  crew  is  seen  in  the  village  of  Ujiji,  the  town  on  Lake  Tanganyika  where  Stanley  found 

Livingstone. 


September,  1938    •    American  Cinematographer  363 


In  camp  at  Siabi  River — 07i  platform,  left  to  right — Sid  Wagner,  A.  S.  C;  Otto  Brower,  director;  Sol  Halperin,  A.S.C.,  process 
cameraman;  on  the  ground,  Henry  Geizen,  grip;  Eddie  Collins,  assistant  cameraman ;  Captain  Vivian  Ward,  white  hunter; 
East  Indian  helper;  Jack  Byron,  actor  and  assistant  director;  native  helper.  At  right,  photographing  hippos  in  Keyiya  Colony. 


for  any  reason  desired  to  refer  to  the 
film  it  could  do  so  without  delay. 

Wagner  had  along  with  him  his  16mm. 
camera.  He  brought  home  some  film  ex- 
posed in  Africa,  and  in  it  there  were 
some  real  thrills.  Some  of  the  scenes 
were  taken  by  himself.  There  was  one 
undeniable  bit  of  evidence  tending  to  this 
conclusion.  His  own  figure  was  not  in- 
cluded in  the  sequence.  The  photography 
in  these  carried  the  stamp  of  the  pro- 
fessional. Some  of  the  others — in  which 
he  did  appear — did  not. 

When  the  A.  S.  C.  man  was  chided  on 
this  he  replied  it  was  not  unusual  for 
any  member  of  the  troupe  to  help  him- 
self to  a  shot  when  he  felt  so  inclined. 

Snake  Not  So  Hungry 

Two,  at  least,  of  those  sequences  will 
linger  in  the  memory  of  any  one  who 
never  has  entered  a  jungle.  One  was  a 
scene  in  which  a  seventeen-foot  python 
had  been  disturbed  and  interrupted  while 
gorging  itself  on  an  impalla  doe. 

As  the  camera  told  the  story  the  pro- 
cess had  been  nearly  accomplished.  Only 
the  rear  hoofs  remained  to  be  encom- 
passed. From  that  point  the  big  snake 
started  the  process  of  reversal.  During 
the  running  back  of  this  unusual  film  it 
became  jammed  or  something.  Quite 
plainly  there  was  gate  trouble.  Then  it 
was  discovered  the  snake  had  dislocated 
his  own  jaw. 

Several  men,  among  them  Sid  Wagner, 
with  considerable  difficulty  were  keeping 
the  big  fellow  straightened  out  and  giv- 
ing him  no  opportunity  to  coil.  The  white 
hunter  stood  by  with  his  rifle  ready  to 
shoot  the  reptile  before  he  quite  com- 
pleted the  unreeling. 

As  the  cameraman  was  running  the 
picture  he  explained  the  snake  would  be 
sure  to  make  plenty  of  trouble  for  those 
present  as  soon  as  he  was  relieved  of 
his  burden.  And  just  before  the  self- 
imposed  task  was  completed  the  snake 
suddenly  became  quite  still — in  fact,  still. 
The  few  who  had  been  holding  him — or 


her — rose  to  their  feet  with  an  air  of 
what  seemed  like  gratification  toward 
the  hunter. 

A  minor  incident  in  connection  with 
this  sequence  may  bear  repeating.  That 
impalla  doe  that  was  playing  Jonah  to 
the  snake's  whale  was  credited  by  a  Fox 
press  story  with  weighing  sixty  pounds. 
That,  it  may  be  quite  truthfully  added, 
is  a  lot  of  pounds  for  one  breakfast. 

Matter  of  Weight 

Sid  Wagner  in  showing  the  film  in  all 
seriousness  remarked  that  the  impalla 
weighed  ninety  pounds.  To  one  person 
at  least  who  has  some  rather  definite 
idea  of  the  size  of  a  ninety-pound  dog 
the  quoted  weight  passed  without  ques- 
tion. It  seemed  authentic — and  in  all 
probability  was  just  that  and  not  any 
pardonable  example  of  the  license  ex- 
tended to  every  fisherman  or  hunter  to 
do  what  in  the  lingo  of  the  latter  is 
known  as  "drawing  the  long  bow." 

What  happened,  in  all  probability,  is 
that  ninety  pounds  was  the  figure  sent 
from  the  jungle  to  Westwood.  When  the 
tale  was  handed  a  press  agent  to  knock 
into  shape  the  figure  staggered  him.  No 
animal  weighing  ninety  pounds  could  be 
swallowed  by  a  snake,  he  said  to  himself. 
Arguing  with  himself  he  insisted  that 
while  this  might  be  the  age,  too,  for 
miracles,  they  were  not  that  kind  of 
miracles. 

And  so,  having  a  keep  sense  of  com- 
mercial values,  he  decided  the  only  way 
out  of  that  mental  dilemma  was  to  take 
off  one  third  as  a  commission  for  the 
truth. 

And  so — likewise— for  the  first  time 
probably  in  the  history  of  the  motion 
picture  industry  a  press  agent  collided 
with  a  story  the  truth  of  which  so  stag- 
gered him  that  he  knocked  off  one-third 
of  it— which  he  hardly  would  have  done 
if  he  had  not  been  satisfied  in  his  own 
mind  he  then  was  overshooting  the  ac- 
tual by  at  least  200  percent. 


Whether  or  not  it  be  a  miracle  at  least 
it  seems  to  be  news. 

There  was  another  sequence  which 
also  contained  a  real  thrill.  It  was  one 
in  which  the  cameraman  did  not  appear, 
for  the  very  good  reason  one  may  be 
sure  that  at  the  time  it  was  taken  there 
was  plenty  doing  around  the  35mm. 
camera. 

That  was  where  several  thousand 
natives  had  been  staked  out  behind  the 
brow  of  a  hill  with  a  long  ridge  under 
orders  to  await  a  signal  to  come  to  the 
rescue  of  a  threatened  expedition.  Half 
a  dozen  tribes  were  represented  in  the 
personnel  of  the  rescuers,  and  two  of 
these  bore  ancient  grudges  against  each 
other.  The  majority  of  the  others  were 
not  much  concerned  as  to  the  identity  of 
their  opponent,  just  so  long  as  there  was 
one. 

Moving  Sight 

It  was  a  moving  sight  when  in  silhou- 
ette the  first  of  the  natives  appeared 
above  the  brow  of  the  hill.  As  others 
streamed  over  the  ridge  and  those  in 
front  spread  over  the  hillside  it  was  an 
impressive  scene. 

The  16mm.  scene  closed  with  abrupt- 
ness, indicating  the  camera's  operator 
may  have  been  called  to  get  on  the  job 
with  the  others  in  an  attempt  to 
straighten  out  a  situation  that  had  be- 
come more  realistic  than  had  been 
intended. 

Gets  New  Boss 

When  Sid  Wagner  reached  London  on 
his  way  home  he  found  awaiting  him  a 
wire  from  John  Arnold,  head  of  MGM's 
camera  department,  that  arrangements 
had  been  made  with  Twentieth  Century- 
F'ox  for  him  to  await  the  arrival  in 
London  of  the  company  en  route  to  Asia. 

But  it  was  nearly  six  months  since  he 
last  had  seen  his  family  and  Sid  wired 
for  permission  first  to  return  home.  That 
was  conceded.  Leaving  immediately,  he 
was  in  Los  Angeles  in  a  week's  time. 


364     American  Cinbmatocjrai'Hkr    •    September,  1938 


Crane  or  boom  built  by  Twevticth  Ccntitrtj-Fox  crew  at  Nairobi  before  fjoing  on  safari.  Constructed  of  2  by  12  inch  lumber,  it 
had  a  lens  altitude  of  22  feet.  At  right,  the  troupe  stands  for  a  picture  to  be  sent  home.  Mrs.  Martin  (Osa)  Johnson,  super- 
visor of  the  trek,  will  be  readily  recognized.    Sid  Wagner  is  in  the  center. 


Here  he  was  told  MGM  had  bought  his 
contract  and  he  had  a  new  boss. 

It  was  nearly  three  weeks  before  he 
left  for  the  Orient,  and  then  the  boat  on 
which  he  sailed  was  ths  Hoover,  which 
a  couple  of  weeks  later  piled  up  on  the 
rocks  in  the  Orient.  And  that  experience 


was  far  from  pleasant,  one  of  the  minor 
phases  of  which  was  many  hours  with- 
out food. 

Just  before  Sid  Wagner's  departure 
for  Africa  he  had  purchased  a  home  in 
Brentwood.  In  it  was  a  room  he  selected 
for  his  den.  It  was  plenty  spacious.  But 


now  it  has  been  found  to  be  too  small 
to  give  proper  display  to  the  many 
trophies  of  the  chase  and  the  hunt  he 
has  brought  back  with  him  from  far 
away  places.  He  now  is  planning  a  large 
addition — just  to  take  care  of  the  young 
museum  already  accumulated. 


Erpi  Introduces  Sound  Recorder 
for  Professional  16mm.  Film  Men 


THE  recently  introduced  profes- 
sional 16mm.  sound  film  recorder 
by  Electrical  Research  Products 
Inc.  was  designed  to  meet  demand  for 
a  machine  that  would  enable  sound  tech- 
nicians to  record  16mm.  negatives  with 
the  same  facility  and  quality  as  though 
they  were  working  with  35mm.  stock. 

It  has  two  immediate  applications. 
Direct  recordings  may  be  made  inde- 
pendently, and  by  electrically  interlock- 
ing the  machine  with  a  35mm.  recorder 
both  sizes  of  negative  may  be  made 
simultaneously.  It  can  also  be  used  to 
record  from  existing  35mm.  product, 
thus  permitting  the  introduction  of  such 
changes  in  frequency  characteristics  as 
experience  has  shown  to  be  desirable  for 
reproduction  on  current  16mm.  projec- 
tor mechanisms. 

Flutter  Reduced 

The  rerecording  can  be  made  directly 
from  a  positive  print  or  from  a  negative 
by  use  of  the  recently  developed  nega- 
tive playback.  This  latter  apparatus 
permits  the  immediate  reproduction  of 
negative  variable  density  sound  tracks 
and  offers  all  of  the  oral  advantages 
that  would  be  given  by  a  device  capable 
of  permitting  one  to  view  a  photographic 
negative  as  a  finished  positive  print  if 
such  a  device  were  available. 

Flutter,  the  variation  in  recorded 
sound  quality  resulting  from  irregular 


film  velocity,  is  reduced  to  a  negligible 
value  in  product  made  on  the  new  ma- 
chine. Mechanical  stabilization  is  accom- 
plished by  locking  the  film  driven  scan- 
ning drum  to  a  special  oil-damped  fly- 
wheel through  one  common  shaft. 

The  flywheel  assembly,  which  operates 
on  the  Rowland  principle,  consists  of  a 
light,  oil  filled,  driven  cylinder  inclosing 
a  heavy,  free  floating,  inner  wheel. 
Acceleration  between  these  two  close- 
fitting  members  is  suppressed  by  the 
viscous  action  of  the  oil.  The  motor, 
which  may  be  of  either  the  interlock 
type  for  simultaneous  use  with  a  camera 
or  rerecorder — or  of  the  synchronous 
type  for  independent  drive — operates  at 
a  tail  shaft  speed  of  1,200  rpm. 

Special  rubber  mountings  minimize  the 
transmission  of  motor  vibration  and  per- 
mit the  motor  to  be  flexibly  coupled 
with  the  main  worm  shaft  v^athout  tor- 
tional  play.  Both  the  sound  and  the 
holdback  sprockets  are  driven  from  this 
latter  shaft  through  worm  gears.  Posi- 
tive take-up  magazine  action  is  assured 
by  a  silent  chain  drive. 

Eliminates  Sound  Distortion 

As  viewed  in  front,  the  film  com.part- 
ment  is  situated  on  the  left  side  of  the 
machine.  It  contains  the  drive  and  hold- 
back .sprockets  which  are  hardened  and 
ground  to  close  mechanical  limits,  the 
film  scanning  drum  described,  and  the 


necessary  pressure  and  guide  rollers. 
A  unique  "variable  intensity,  variable 
density"  modulator  unit,  which  functions 
to  transform  the  fluctuating  sound  cur- 
rents into  proportional  variations  of 
light  properly  focused  to  expose  the 
moving  film,  occupies  a  compartment 
immediately  to  the  right  of  the  film 
propulsion  mechanism. 

Because  16mm.  film  travels  at  approx- 
imately one  third  the  speed  of  profes- 
sional film,  the  new  recorder  utilizes  an 
image  height  of  only  .0004  inches,  hence 
the  modulator  is  easily  capable  of  record- 
ing sound  frequencies  of  7,000  cycles  per 
second.  Equal  performance  in  35mm. 
machines  would  necessitate  extending 
their  present  upper  range  to  17,500. 

Direct  headset  or  loudspeaker  monitor- 
ing is  accomplished  by  means  of  a  photo- 
cell monitoring  amplifier  contained  in  a 
compartment  directly  back  of  the  modu- 
lator. This  amplifier  is  ingeniously 
mounted  so  it  may  be  easily  removed 
from  the  machine  without  disturbing  any 
wiring,  by  simply  removing  the  rear 
cover  plate  and  unfastening  two  thumb- 
screws. 

Numerous  original  sound  films  and 
recordings  recently  produced  on  the  new 
recorder  prove  that  16mm.  is  now  an 
entirely  practical  medium  not  only  for 
non-theatrical  subjects  but  for  entertain- 
ment pictures  as  well. 


September,  1938    •    American  Cinematographer  365 


POVERTY 


Ml  ,noaorn,/..n^  ^^„a  v\u-  nu.sl 

ii--'>  : 


 -"-:r!;:.-e:r.:'"."-t 


,.1 1"".'*- 


BETTER  LIGHT  MEANS  BETTER  PICTURES 

Reproduced  above  is  another  advertisement  of  the  series  designed  to  build 
theater  patronage  by  better  projection  ...  to  the  profit  of  the  studio  as 
well  as  the  theater.  And  remember  —  CARBON  ARC  LIGHTING  also 
has  many  advantages  for  picture  production. 

NATIONAL  CARBON  COMPANY.  INC. 


366     American  Cinematographer    •    September,  1938 


Month  s  Photographic  Honors  Fall 
to  Daniels  on  'Marie  Antoinette ' 

Members  of  Poll  Vote  Heavily  in  Favor  of  Cameraman 
Responsible  for  Quality  of  Photography  on  MGM's 
Great  Production — Picture  Has  Such  Rare  Union 
of  Spectacular  and  Emotional  Appeal  That  It 
Is  Accorded  Seven  Out  of  Eleven  Firsts 


WILLIAM  DANIELS,  A.S.C.,  for 
his  camera  work  on  MGM's 
"Marie  Antoinette,"  walked  off 
with  the  July  photographic  award  by 
the  Preview  Poll.  It  was  a  decisive  ver- 
dict, there  being  a  plurality  almost  equal 
to  that  given  Robert  Morley  for  his  work 
as  a  supporting  actor  in  the  same  pic- 
ture. Theodor  Sparkuhl,  A.S.C.,  was 
second  in  Paramount's  "Texans"  and 
Tony  Gaudio,  A.S.C.,  in  Warners'  "Gar- 
den of  the  Moon"  was  third. 

"Marie  Antoinette"  did  not  take  all  of 
the  eleven  awards,  but  it  did  take  seven 
of  them,  and  that  is  something  of  a 
record.  Just  to  sort  of  cinch  that  vote 
the  poll  gave  two  of  the  remaining  four 
to  MGM,  making  nine  for  one  studio 
for  the  month. 

But  there  is  a  reason — an  excellent 
reason — for  the  landslide.  "Marie  An- 
toinette" is  a  landslide  of  a  picture.  Im- 
pulsively one  is  inclined  to  assert  it  is 
the  greatest  ever.  Perhaps  it  is.  But 
nevertheless  truthfully  it  may  be  said 
of  it  that  "It  has  about  everything." 


It  is  a  great  spectacle.  Just  name  one 
other  that  has  made  its  comparatively 
brief  entrance  and  exit  across  the  last 
quarter  of  a  century  that  will  exceed  it 
in  lavishness,  in  gorgeous  costumes  and 
settings,  and  ...  in  the  pull  on  the 
emotions. 

It  is  in  the  last  half  dozen  words 
where  you  narrow  the  competition.  Of 
great  spectacles  it  has  been  a  poor 
twelvemonth  during  the  last  score  or 
more  of  years  we  have  not  had  one  or 
several.  But  great  spectacles  and  great 
heart  stories  combined  within  the  covers 
of  a  single  box  as  we  have  in  "Marie  An- 
toinette" is  something  else  again. 

Camera  Department  Shines 

"Bill"  Daniels  and  his  fellows  upheld 
the  credit  of  their  craft  in  their  contribu- 
tion to  the  sum  of  "Marie  Antoinette's" 
size.  That  tragic  story  of  the  latter  half 
of  the  eighteenth  century  because  of  the 
very  quality  that  marked  its  creation, 
from  writing  to  photography,  put  every 
contributor  "on  the  spot,"  so  to  speak. 


The  competition  between  the  makers, 
major  and  minor,  was  fiercely  keen.  Only 
those  who  knew  the  route  and  had  the 
genuine  speed  could  keep  the  pace. 

The  camera  department  of  the  big 
Culver  City  studio  has  every  reason  to 
be  congratulated  on  the  rare  quality  of 
its  work  in  "Marie  Antoinette." 

Associated  with  Daniels  both  in  the 
preliminary  work  and  in  the  larger 
scenes  were  George  Folsey,  A.S.C.,  and 
Leonard  Smith,  A.S.C. 

William  Daniels  literally  attached  him- 
self to  a  star — in  fact,  two  stars.  He 
has  been  the  cameraman  of  Norma 
Shearer  and  Greta  Garbo. 

It  was  Irving  G.  Thalberg  who  guided 
the  careers  of  both  stars.  It  was  also 
Thalberg  who  gave  Daniels  his  oppor- 
tunity. 

Daniels  was  born  in  Cleveland,  but 
moved  to  Los  Angeles  with  his  parents 
when  still  a  youngster.  He  was  a  can- 
did-camera fan  long  before  the  fad  be- 
came a  national  craze.  While  attending 
Lincoln  High  School  he  tinkered  with 
cameras,  used  the  family  bathroom  as 
a  darkroom  and  ruined  his  best  Sunday 
go-to-meeting  suit  with  developer. 

Rapid  Promotion 

After  completing  his  education  at  the 
University  of  Southern  California  in 
1917,  Daniels  discovered  that  photog- 
raphy still  interested  him  more  than 
zoology,  economics  or  ethics.  He  se- 
cured a  job  as  an  assistant  cameraman 
on  a  Gloria  Swanson  feature,  "Smoke," 
which  Jack  Conw-ay  directed. 

Ambition  and  a  knack  with  cameras 
assured  rapid  promotion  for  the  young 
cameraman.  Universal  Studio  hired  him 
as  a  second  cameraman  on  a  serial, 
"Robinson  Crusoe,"  starring  Harry  Mey- 
(Continued  on  Page  395) 


On  the  left  is  Director  W.  S.  Van  Dyke 
II  and  William  Daniels,  A.S.C,  who 
directed  and  photographed  MGM's  rare 
creation  of  "Marie  Antoinette."  There 
can  be  no  weak  links  in  the  chain  that 
represents  this  production.  There  is  none 
here.  The  photograph  7-eproduced  here 
has  added  interest  in  that  it  was  ex- 
posed on  the  set  of  the  same  company's 
"Personal  Property,"  starring  Robert 
Taylor  and  the  late  Jean  Harlow. 


September,  1938    •    American  Cinematographer  367 


Reverse  Studio  Lighting  Methods 
to  Put  Big  Night  Spots  on  Screen 

By  VICTOR  MILNER, 

President  American  Society  of  Cinematog7-aphers 


PREPARING  for  the  production  I 
am  currently  photographing,  Para- 
mount's  "Say  It  in  French,"  an 
interesting  problem  arose  the  solution  of 
which  may  perhaps  be  helpful  to  other 
cinematographers  as  a  means  of  extend- 
ing the  scope  of  their  work.  Certain 
action  in  this  script  would  be  greatly 
enhanced  if  it  could  be  laid  in  the  cele- 
brated Peacock  Alley  and  Starlight  Roof 
of  New  York's  Waldorf  Hotel  and  in 
the  Rainbow  Room  of  Radio  City.  But  it 
seemed  doubtful  if  this  could  be  done. 

Leaving  aside  budgetary  considera- 
tions, the  mere  physical  size  of  these 
rooms  made  it  impossible  to  duplicate 
them  in  authentic-appearing  studio  sets. 
Some  of  them  are  so  large  that  few  if 
any  studio  stages  are  large  enough  to 
house  them. 

The  transparency  or  background-pro- 
jection process,  however,  seemed  to  offer 
a  chance  to  achieve  the  desired  end — 
provided  it  was  possible  to  film  back- 
ground and  atmospheric  scenes  of  the 
real  Peacock  Alley,  Starlight  Roof,  and 
so  on,  in  a  manner  combining  major 
production  photographic  quality  with  a 
convincing  atmosphere  of  actuality.  The 
large  scale  phototechnical  problems  in- 
volved made  even  this  seem  doubtful. 

Authentic  Locales 

It  was  therefore  decided  that  I  should 
go  to  New  York,  survey  the  situation  at 
first  hand  and,  if  possible,  film  the  de- 
sired scenes.  In  this  connection  much 
credit  is  due  the  Paramount  executives, 
especially  William  LeBaron,  Fred  Leahy 
and  Producer-Director  Andrew  Stone, 
for  their  understanding  of  the  photo- 
graphic difficulties  of  the  problem  and 
their  agreement  that  the  scenes  were  to 
be  attempted  only  in  the  event  that  the 
very  best  of  photographic  quality  could 
be  obtained. 

Fundamentally  the  problem  was  of 
course  one  in  large  scale  lighting  on 
settings  neither  designed  nor  intended 
for  cinematography.  With  modern  equip- 
ment it  would  be  possible  to  illuminate 


Day  scene  filmed  in  the  middle  of  the 
night  in  the  Starlight  Roof.  Daylight 
effect  from  %mndow  in  background  was 
made  by  illuminating  white  backing  sus- 
pended outside.  Lamps  had  to  be  placed 
with  unusual  acctiracy;  a  single  column 
often  had  to  conceal  several  lamps  from 
the  camera. 


these  large  areas  to  afl'ord  satisfactory 
exposure  levels:  but  would  it  be  possible 
to  light  them  in  the  cinematic  sense,  to 
create  illusions  of  roundness  and  depth 
and  to  match  the  quality  of  studio  cine- 
matography? 

In  addition  to  this  problem  we  were 
all  of  us  fearful  of  the  more  purely 
mechanical  problems  of  lighting  equip- 
ment and  power  supplies.  After  all,  it 
has  been  some  years  since  New  York 
was  a  consistently  active  producing 
center,  and  many  changes  in  lighting 
equipment  have  taken  place  in  that  time. 
Would  the  equipment  available  be  suffi- 
cient in  quantity  and  quality  to  cope 
with  a  problem  of  this  magnitude? 
Would  adequate  power  be  available? 

My  worries  as  to  equipment  were 
banished  soon  after  I  met  Charles  Ross, 
head  of  the  equipment  fii'm  from  which 
Keith  Glennon  and  Roy  Hunter  at  the 
studio  arranged  for  our  equipment  to  be 
obtained.  As  the  eastern  representative 
of  the  Hollywood  Mole-Richardson  or- 
ganization, I  found  Ross'  establishment 
to  be  supplied  with  an  array  of  the 
latest  and  most  modern  lighting  units 
such  as  few  of  even  Hollywood's  major 
studios  could  boast.  The  quantity  of 
equipment  available  proved  ample  for 
several    assignments    of    even  greater 


magnitude  than  mine.  In  addition,  Ross' 
organization  supplied  a  crew  of  fully 
competent  electricians  to  operate  the 
lamps. 

Power  to  Burn 

When  I  learned  the  portable  genera- 
tors so  universally  used  for  location 
work  in  California  were  practically  un- 
known in  the  East  I  again  envisioned 
failure  in  the  assig-nment.  But  Ross 
merely  smiled  and  suggested  that  I  ask 
regarding  power  fi-om  the  engineers  of 
the  various  buildings  in  which  we 
planned  to  work. 

The  problem  began  to  diminish  at  my 
first  talk  with  Chief  Engineer  Bourciet 
of  Radio  City.  I  estimated  we  would 
have  to  call  upon  him  for  as  much  as 
thirty-five  hundred  or  even  four  thou- 
sand amperes — and  he  calmly  informed 
me  he  could  supply  anything  up  to 
65,000! 

Later,  the  engineer  at  the  Savoy  Plaza 
swept  me  off^  my  feet  by  off^ering  any- 
thing' up  to  500,000  amperes! 

Our  only  serious  power  problem  was 
encountered  at  the  Waldorf,  where, 
though  we  had  ample  power,  the  current 
was  supplied  at  220  volts.  Since  the  only 
available  light  globes  were  of  the  stand- 
ard 110-volt  types  this  necessitated  burn- 


368     American  Cinhmatographer    •    September,  1938 


Scene  filmed  in  Peacock  Alley,  Waldorf- 
Astoria,  New  York.  Virtually  all  illumi- 
nation had  to  come  from  lamps  concealed 
m  the  scene.  Note  how  illumination  of 
ceiling  helps  su(/(jest  depth. 


ing  all  our  lamps  in  pairs,  wired  in 
series.  Thus  if  we  could  not  conveniently 
connect  two  lamps  on  the  set  in  series 
we  had  to  have  for  every  lamp  on  the 
set,  a  duplicate,  electrically  intercon- 
nected lamp  burning  off  the  set  to  bal- 
ance the  load! 

Surveying  the  various  rooms  in  which 
we  were  to  work,  it  at  once  becanu; 
apparent  that  all  lighting  would  have  to 
be  done  from  the  floor.  With  the  mod- 
ernistic architecture  now  in  vogue,  the 
balconies  and  mezzanines,  once  so  fa- 
miliar a  part  of  hotel  lobbies  and  cafes 
— and  so  convenient  a  place  for  over- 
head and  back-lighting  units — have 
vanished. 

Real  Problem 

Under  ordinary  circumstances,  light- 
ing wholly  from  floor  units  would  not  be 
a  particularly  novel  or  serious  problem. 
In  this  case,  however,  the  extreme  mag- 
nitude of  the  rooms,  and  the  necessity 
for  creating  depth  and  roundness  made 
the  problem  genuinely  difficult. 

The  solution  was,  briefly,  an  almost 
complete  reversal  of  customary  studio 
procedure.  In  the  studio,  we  commonly 
light  our  sets  from  above — from  spot- 
lighting units  placed  on  overhead  lamp- 
rails  and  directed  downward  into  the 
set  at  various  angles. 

In  this  case,  we  did  the  opposite:  we 


MOVIOLA 

FILM  EDITING  EQUIPMENT 

Used  in  Every  Maior  Studio 
Illustrated   Literature  on  request 

MOVIOLA  CO. 

1451  Gordon  St.  Hollywood,  Calif. 


accomplished  most  of  the  lighting  of  the 
"set"  from  below — from  units  placed  on 
the  floor  and  directed  angularly  upward. 
In  the  studio,  the  overhead  lamps  are 
out  of  camera  range  above  and  beside 
the  set.  In  these  scenes  the  lamps  often 
had  to  be  in  the  set,  carefully  concealed. 

The  chief  aim  of  course  was  to  re- 
produce the  lighting  effects  seen  in  these 
rooms  in  reality.  To  this  end  I  carefully 
studied  the  rooms  under  normal  condi- 
tions, charting  the  position  of  every  light 
used. 

When  the  time  came  to  film  our  scenes, 
I  strove  to  duplicate  these  natural  light- 
ing effects  with  light  of  photographic 
intensity,  adding  whatever  further  light- 
ing might  be  necessary  to  achieve  the 
needed  depth  and  roundness.  In  every 
case,  the  setting  rather  than  the  people 
in  it  was  the  star  of  the  scene. 

Long  Corridor 

Lighting  Peacock  Alley,  which  is  a 
corridor  about  fifteen  feet  wide  by  eleven 
high,  extending  completely  through  the 
building  for  a  long  city  block,  was  an 
exceptional  problem  in  securing  the 
effect  of  depth  without  being  able  to  use 
many  of  the  conventional  methods. 


The  corridor  is  lined  with  exclusive 
shops.  The  windows  and  entrances  of 
these,  illuminated,  helped  to  suggest 
depth.  At  the  far  end,  the  corridor 
terminated  in  a  right-angled  cross-pass- 
age, which  again  gave  some  opportunity 
for  cross-light  highlighting. 

Along  the  length  of  the  corridor  were 
numerous  projecting  settees  and  alcoves. 
Behind  these  it  was  possible  to  conceal 
various  lamps  which  could  be  used  to 
illuminate  the  long  passageway. 

For  this  purpose  we  used  pan-like  re- 
flectors capable  of  using  any  type  of 
(Continued  on  Page  .39i) 


FAXON  DEAN 


INC. 


CAMERAS 

BLIMP<^-DOLLYS 

FOR  RE>T 

MO.  11838 

4516  Sunset  Boulevard 
Night,  NO.  22563 


iaHS 


-^■'^-^'^•'^ o^al- MItSl  came R as 
|ggr,.o  ROOM  EQUIPMENT 


EASTERN 
HEADQUARTERS 
FOR  THE 

CAMERAME<4 


FRANK-ZUCKER 


^AMERA  EQUI 

y#    1600  BROADWAY  n.yc  \  < 


CABLE  address:  CINEQUIP 

PMENT»c 

CIRCLE  6-5066 


September,  1938    •    American  Cinematographer  369 


Cinematographers '  Ladies '  Night 
Most  Successful  from  All  Angles 


I  cannot  be  with  you  at  our  family  party 
tonight  is  putting  it  mildly.  A  studio 
assignment  like  the  one  I  am  on  which 
keeps  me  three  thousand  miles  from 
Orange  Drive  and  Franklin  Avenue  is 
the  only  thing  which  could  possibly  pre- 
vent me  from  being  present  to  enjoy 
the  festivities." 


UPON  the  invitation  of  the  Board 
of  Governors  of  the  American 
Society  of  Cinematographers  for 
a  ladies'  night  at  the  clubhouse  at  1782 
North  Orange  Drive,  Hollj'wood,  more 
than  sixty  couples  responded  on  the  eve- 
ning of  July  30.  The  party  was  entirely 
informal,  as  is  the  custom  at  A.  S.  C. 
affairs  —  and  as  it  has  been  for  the 
twenty  years  of  the  organization's  active 
existence. 

A  portable  dancing  floor  had  been  laid 
in  the  main  lounge,  some  of  the  furni- 
ture which  normally  graces  that  spa- 
cious room  being  shunted  off  to  the 
library.  The  orchestra  of  Patrick  and 
Marsh  was  stationed  in  the  lobby  ad- 
joining and  kept  things  humming,  espe- 
cially following  the  introduction  of  the 
big  apple  by  Treasurer  Fred  W.  Jack- 
man  and  John  F.  Seitz.  It  seemed  then 
there  was  just  one  apple  after  another. 

In  the  absence  of  President  Victor 
Milner,  detained  in  the  East  on  a  Para- 
mount assignment.  First  Vice  President 
George  Folsey  was  the  ranking  official. 
Assisting  him  in  his  emceeing  job  were 
his  fellow-directors  Fred  W.  Jackman, 
Frank  Good,  John  Arnold,  John  W. 
Boyle,  Ray  June,  Charles  Lang  Jr.  and 
Joseph  Walker. 

Present  as  especial  guests  of  those  so 
fortunate  as  to  be  present  were  several 
"widows"  of  members  absent  in  other 
parts  of  the  world.  These  were,  with 
the  locations  of  the  absentees,  Mrs.  Mil- 
ner, Mrs.  Elmer  Dyer,  whose  husband 


COOKE  CINE  LENSES 

help  the  industry  progress 
...  by  meeting  today's  needs 
ideally  ...  by  being  fully  ca- 
pableof  satisfying  tbefuture's 
ever  more  exacting  require- 
ments. Focal  lengths  for 
every  need.  Write  for  de- 
scriptive literature. 

BELL  &  HOWELL 

COMPANY 

Exclusive  World  Distributors  of 
Taylor-Hobson  Cooke  Cine  Lenses 
1848  Larchmont  Avenue,  Chicago 
New  York:  11  West  42d  Street 
Hollywood:  716  N.  LaBrea  Avenue 
London:  13-14  Great  Castle  Street 


was  in  Pensacola;  Mrs.  Clyde  De  Vinna, 
en  route  home  from  an  assignment  in 
the  Amazon  jungles;  Mrs.  George 
Schneiderman,  in  Arizona  on  a  location 
hunt,  and  Mrs.  Karl  Freund,  detained 
at  the  studio  by  a  night  assignment. 

Present  also  for  the  festivities  were 
Mr.  and  Mrs.  Sidney  (Sid)  Wagner,  the 
former  of  whom  due  to  his  various 
worldwide  assignments  the  past  twenty 
months  for  Twentieth  Century-Fox  and 
MGM  for  the  first  time  saw  the  inside 
of  the  clubhouse. 

By  and  large  it  was  a  good  party,  as 
parallel  affairs  of  the  A.  S.  C.  are  more 
than  likely  to  be  so  declared. 

The  following  message  was  received 
from  President  Milner  in  New  York: 

"To  the  members  of  the  A.  S.  C.  and 
their  ladies — greetings.    To  say  I  regret 


"Safety  Glass"  Filmed 

The  manufacture  and  utilization  of 
safety  glass  is  depicted  in  a  new  two- 
reel  silent  motion  picture  film  entitled 
"Safety  Glass,"  which  is  the  latest  addi- 
tion to  the  extensive  educational  film 
library  of  the  Bureau  of  Mines,  United 
States  Department  of  the  Interior.  The 
film  was  prepared  in  cooperation  with 
an  industrial  concern. 


Jay  Gage  Passes 

Funeral  services  for  Jay  Gage,  father 
of  Fred  Gage,  A.S.C.,  head  of  Warners' 
studio  laboratory,  were  held  August  22 
at  Forest  Lawn.  The  late  Mr.  Gage  was 
a  pioneer  in  the  development  of  the  air- 
plane, being  proprietor  of  the  first  avi- 
ation school  on  the  coast. 


>^SALES"< 
RENTALS 
SERVICE 

DOLLIES 
BLIMPS 

.  SOUND  . 
\  EQUIPMENT  y 


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MOTION  Picture  Camera  Supply  in< 

723  SEVENTH  AVENUE,  NEW  YORK.N.Y. 
BRYANT  9-7755  •  CABLE .  CINECAMERA' 


Camera  Supply  Co. 

FOR 

Efficient-Courteous  Service 

GORDON  BENNETT— MANAGER 
• 

Everything  Photographic 
Professional  and  Amateur 
• 

New  and  Used  Equipment 
Bought — Sold — Rented 
• 

ART  REEVES 

Camera  Supply  Co. 


HOLLYWOOD 


1515  Norfh  Cahuenga  Boulevard 
Cable  Address — Cameras 


CALIFORNIA 


370     American  Cinematographer    •    September,  1938 


Ahrams  Builds  Plane  and  Camera 
for  Aerial  Photographic  Mapping 


yt  NNOUNCEMENT  is  made  of  a  new 
/-%    camera    for   aerial  photography, 
developed  and  built  in  the  labora- 
tories of  the  Abrams  Aerial  Survey  Cor- 
poration of  Lansing,  Mich. 

Last  year  the  Abrams  company  built 
the    Explorer,    a   plane    especially  de- 


H.  Schoibo 

F  EFFECT  FILTERS 

LOS  ANGELES  CAL 


1 


signed  for  aerial  photographic  mapping. 
This,  with  a  maximum  speed  of  well  over 
200  miles  an  hour,  brought  about  the  de- 
velopment of  the  present  camera,  for  the 
old  instruments,  with  only  100  exposures, 
had  to  be  reloaded  so  often  when  used 
with  the  Explorer  that  valuable  mapping 
time  was  lost. 

The  Abrams  camera,  however,  carries 
500  feet  of  film,  approximately  seven 
times  as  much  as  the  old  camera,  enough 
film  for  more  than  600  exposures.  Since 
it  takes  about  10  minutes  to  reload  an 
aerial  camera,  the  new  one  will  enable 
photographers  to  spend  about  an  hour 
more  time  actually  taking  pictures  on 
one  roll.  More  than  400  square  miles 
may  be  surveyed  in  this  period. 


EVERYTHING  PHOTOGRAPHIC 

FOR  PROFESSIONAL  AND  AMATEUR 

The  World's  Largest  Variety  of  Cameras  and  Projectors.  Studio  and 
Laboratory  Equipment  with  Latest  Improvements  as  Used  in  the 
Hollywood  Studios.    New  and  Used. 

SEND  FOR  BARGAIN  CATALOGUE 

Hollywood  Camera  Exchange 


HO  3651 


1600  CAHUENGA  BOULEVARD 

Hollywood,  California         Cable:  Hocamex 


A  PROFESSIONAL  16  mm.  DOUBLE-SYSTEM  SOUND  RECORDING 
EQUIPMENT  FOR  INDUSTRIAL  AND  EDUCATIONAL  TALKING  PICTURES 


ALL  A.  C.  OPERATION  RELIABLE 

NO  BATTERIES  MAINTENANCE  -  FREE 

EXACT  SYNCHRONIZATION  COMPLETE 

SYNCHRONOUS  MOTOR  DRIVE  READY  TO  OPERATE  WITH 

YOUR  SYNCHRONOUS  MOTOR 

DEMONSTRATION  REEL  AVAILABLE  DRIVEN  CAMERA 

'1985  ^   NEW  YORK  THE  BERnDT-IIIIIURER  CORP. 

IMMEDIATE  DELIVERY  117  east  24th  street  •  new  york  city 


Designed  to  take  advantage  of  the 
maximum  covering  power  of  the  lens, 
the  camera  takes  pictures  nine  inches 
square.  Made  entirely  of  Dow  metal  to 
reduce  weights  and  increase  strength, 
there  are  no  moving  parts  between  the 
focal  plane  and  the  lens.  The  focal 
plane  is  set  rigidly  and  permanently  in 
relation  to  the  lens,  and  the  film  is  held 
flat  by  vacuum  pressure. 

A  metering  device  insures  a  uniform 
space  between  exposures  with  a  mini- 
mum waste  of  film.  The  cameraman 
sits  in  a  more  comfortable  position  be- 
cause of  the  height  of  the  camera  and 
placement  of  cranks  and  handle.s,  and 
the  level  bubble  and  exposure-counting 
device  are  constantly  within  easy  sight 
and  reach. 

A  special  attachment  marks  the  film 
either  between  exposures  or  between 
flight  lines.  The  camera  is  equipped 
with  a  wide  angle  8 'A -inch  lens. 


Fried  Laboratory  Equipment 
35MM        I6MM  COLOR 

Printers;  Color,  Continuous,  Step,  Optical 
Lite   Testing    Machines   Developing  Machines 

FRIED  CAMERA  CO. 

6154  Santa  Morrica  Blvd.,  Hollywood,  Cal. 
Cable:  FRIEDCAMCO 

MUST  SACRIFICE 

DE  BRIE  SUPER  PARVO 

iVew  Type  Ultra  Silent  Camera — 
l\o  Blimp  Necessary 

Has  built-in  motor,  automatic  dissolve, 
pilot  pins  and  antl-buckling  device.  Four 
lOOO-ft.  magazines — 40  mm.  50  mm.  and 
75  mm.  F2.3  lenses,  De  Brie  upright  finder, 
set  of  front  attachments.  Leather  covered 
carrying  trunk.  It's  the  latest  type  equipment 
.  .  .  like  new! 

Camera  Equipment,  Inc. 

1600  Broadway  Nev<  York  City 

Tel.  Circle  6,5080  Cable:  CInequip. 


AF  1.8 
S  T  R  O 

LENSES 


for  sale  by 

Mitchell  Camera  Corporation 

665  North  Robertson  Blvd. 
West  Hollywood,  California 


September,  1938    •    American  Cinematographer  371 


NEW.  REDUCED  PRICE 


ULTRA-FIDELITY  OPTICAL  UNIT  $150. 

LINE-O-LITE  GLOW  LAMP   20. 

PROJECTS  LIGHT  ON  FILM— NO  SLIDING  SURFACES  OR  SCRATCHING.  ULTRA-VIOLET  TRANS- 
MISSION IN  REGION  OF  MAXIMUM  FILM  SENSITIVITY.  GIVES  HIGHEST  EXPOSURE  AT  LOW 
VOLTAGE  OPERATION.  NATURAL  REPRODUCTION  OF  MUSIC  .  .  .  TRUE  FIDELITY  OF  VOICE— NO 
MECHANICAL.  HARMONIC,  OR  PHASE  DISTORTION.  FILM  DEVELOPMENT  LESS  CRITICAL  THAN 
ANY  OTHER  SYSTEM. 

BUILD  YOUR  OWN  AMPLIFIER 
We  Furnish  You  the  Noise  Reduction  Circuit  with  Each  Unit, — Upon  Request 


ART  REEVES 


MOTION   PICTURE  EQUIPMENT 

7512  Santa  Monica  Blvd..  Cable  Address  "ARTREEVES"  Hollywood.  California.  U,  S.  A. 


''The  River''  Makers  Transferred 
to  National  Emergency  Council 


WASHINGTON.  —  The  film  unit 
which  made  the  United  States 
Government's  two  documentary 
epics,  "The  Plow  That  Broke  the  Plains" 
and  "The  River"  has  been  transferred 
from  the  Farm  Security  Administration 
of  the  Department  of  Agriculture  to  the 
National  Emergency  Council,  where  it 
has  been  assigned  a  coordination  study 
task. 

Lowell  Mellett,  executive  dii'ector  of 
the  NEC,  has  not  announced  plans  for 
the  unit  nor  has  he  indicated  what  name 
the  film  organization  will  bear. 

Pare  Lorentz,  New  York  critic,  author 
and  director  of  the  two  documentary 


films  named,  has  been  asked  to  make  an 
extended  study  of  Government  film  co- 
ordination for  the  NEC.  In  outlining  the 
purposes  of  the  study  the  NEC  has  indi- 
cated a  desire  to  impi-ove  the  product  of 
the  Federal  Government  while  at  the 
same  time  not  entering  into  commercial 
motion  picture  competition  with  Holly- 
wood. 

Consultation  Service 

In  addition  to  making  the  coordination 
study  the  film  unit  is  continuing  educa- 
tional distribution  of  "The  Plow  That 
Broke  the  Plains,"  while  "The  River" 
is  being  given  its  national  commercial  re- 
lease through  Paramount. 


The  Lorentz  staff  also  is  acting  in  an 
advisory  capacity,  offering  a  consultation 
service  to  other  government  bureaus  in- 
terested in  the  production  and  distx'ibu- 
tion  of  non-theatrical  films. 

This  activity  includes  advisory  service 
to  state  boards  of  education,  schools, 
colleges,  adult  educational  groups  and 
experimental  film  organizations. 

No  new  personnel  is  being  added  nor 
have  any  production  plans  been  an- 
nounced for  future  documentary  subjects. 

Among  those  in  the  new  organization 
who  have  been  transferred  from  the 
Farm  Security  Administration  are  Arch 
Mercey,  who  was  assistant  director  of 
information  and  research  editor  of  "The 
River."  Mr.  Mercey  now  is  in  the  Wash- 
ington office  of  NEC  and  George  Gercke, 
who  was  formerly  with  the  New  York 
office  of  FSA,  now  is  in  the  New  York 
office  of  the  NEC. 

R.N.H. 


372     American  Cinejmatographer    •    September,  1938 


Form  Film  School  Library 

with  Rockefeller  Backing 

Fanning  Hearon,  who  for  some  time 
has  been  the  director  of  the  Division  of 
Motion  Pictures,  Department  of  the  In- 
terior, Washington,  has  resigned  to  head 
a  new  organization  known  as  the  Asso- 
ciation of  School  Film  Libraries  with 
offices  in  New  York. 

The  new  group  is  financed  by  the  Gen- 
eral   Education    Board,    a  Rockefeller 


foundation,  and  is  a  non-profit  motion 
picture  corporation  set  up  for  the  cen- 
tralization of  visual  educational  informa- 
tion. IVIr.  Hearon  states  that  the  cor- 
poration is  a  "direct." 

The  organization  will  act  as  a  central 
source  of  supply  to  which  all  schools  and 
colleges  may  turn  for  assistance  and  ad- 
vice in  securing  films.  For  members  in 
the  association  the  organization  will  ob- 
tain appraisals  of  various  films  which 
are  available  and  those  that  can  be  made 


LANDERS  <c  TRISSEL,  Inc. 
RENTALS   -  SERVICE 

MOTION  PICTURE  CAMERAS  -   BLIMPS  -  DOLLIES  -  CAMERA  CRANE 

AND  ALL  ACCESSORIES 


PHONE 
HE.2277 


6313  SUNSET  BOULEVARD  Night 

NEAR  VINE  STREET  Landers  HE-1311 

HOLLYWOOD,  CALIFORNIA  Trissel  -  No.  Hoi.  5992W 


available.  It  will  not  rent  or  produce 
motion  pictures,  but  will  act  as  an  im- 
partial unit  between  producers  and  con- 
sumers. 


Weston's  Film  Speed  Sheet 
with  New  Ratings  Is  Ready 

Amateur  and  profe.ssional  photog- 
raphers can  now  obtain  the  new  film- 
speed  sheet  just  issued  by  the  Weston 
Electrical  Instrument  Corporation,  New- 
ark, N.  J.,  containing  the  latest  ratings 
on  some  of  the  newer  films. 

The  sheet  also  includes  revisions,  made 
as  a  result  of  exhaustive  te.sts  on  Ameri- 
can films,  and  some  of  foreign  make 
have  been  shown  to  produce  negative 
densities  which  today  assure  the  most 
desirable  photographic  results,  from  the 
standpoints  both  of  contrast  and  of 
printing  quality. 

Copies  may  be  obtained  from  photo- 
graphic dealers. 


★  ★  ★  SpedoL  LIGHTING  NEWS  S^iJuL  ★  *  ★ 


ON   THE  SET 


EVERY  DAY 


DUARC  SOLVES  ARC  PROBLEM! 


AUTOMATIC 
ARC  HURLS 
DEFI  AT 
FLICKER! 

A  direct  attack  on  flicker 
in  broadside  arcs  was 
made  today  by  Duarc,  new 
Twin-arc  broadside  from 
Mole-Richardson.  Accord- 
ing to  statement  from  in- 
formed sources,  flicker 
menace  was  laid  to  inade- 
quate feeding  of  arc  car- 
bons in  previous  broad- 
sides. New  Duarc,  it  was 
stated,  overcomes  this  by 
automatic  feed  governed 
by  arc  itself.  The  two  arcs 
in  Duarc  can't  get  flicker- 
causing  anemia  by  inade- 
quate feed,  nor  can  car- 
bons be  fed  too  rapidly  to 
arc,  for  the  automatic 
mechanism  supplies  car- 
bons at  exact  rate  they 
are  needed,  and  permits 
consuming  them  down  to 
three-inch  stubs.  Sensi- 
tive photometers  and 
color-cameras  are  re- 
ported still  .searching  for 
flicker  in  Duarc,  but  un- 
able to  find  it. 


First  Photos  of  Record-Breaker 
Exclusive  photos  of  record-breaking  Duarc  show  radically  new 
design  and  appearance  Fully  automatic  control  operated  by 
single  switch  turns  the  new  arc  on  and  ofi"  as  easily  as  a  house- 
lamp.  Rigid  one-piece  Pyrex  diff"user  eliminates  ultra-violet  and 
gives  wide  flood  of  smooth,  powerful  light.  Special  mountings 
permit  Duarc  to  do  double  duty,  serving  either  as  floor  flood- 
lighting "broadside"  or  overhead  scoop. 

FOR  FURTHER  DETAILS  SEE 


mw  TWIN 
MAKES  2  HR, 
NON-STOP 
RECORD! 

Shattering  the  previous 
twin-arc  endurance  record 
of  40  minutes  without  re- 
trimming.  New  Mole-Rich- 
ardson Duarc  today  made 
a  non-stop  run  of  over  two 
hours  without  retrimming 
or  other  attention.  Record 
was  made  under  ofiicial 
timing,  and  since  repeated 
on  several  sets.  Makers 
point  out  practical  value 
of  this  record  is  that  it 
will  permit  Duarcs  used 
as  broadsides  or  overhead 
scoops  on  color  sets  to 
work  full  day  without  de- 
laying production  for  re- 
trims.  If  burned  carefully, 
a  single  trim  in  a  Duarc 
should  last  all  day;  other- 
wise a  Duarc,  freshly 
trimmed  in  morning  can 
work  without  attention  till 
noon,  when  a  second  trim 
will  enable  the  record- 
breaker  to  finish  the  day 
without  further  attention. 


MOLE  -  RICHARDSON  COMPANY 

941  No.  Sycamore  Ave.,  Hollywood,  Calif. 


You  can  say  it 
over  and 
over 
again 

EASTMAN 

SUPER  X 
NEGATIVE 

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BELL  &  HOWELL  COMPANY  ac9-m 
1848  Larchmont  Avenue,  Chicago,  Illinois 
Please  send  at  once  complete  information  about 
(  )  Filmo  141;  (   )  Filmo  Double  8  Cameras. 


Name  . 


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AMERICAN  CINEMATOGRAPHER 
AMATEUR  MOVIES  SECTION 


CIKCU2 

TODAY 

2  PWZ 
ADMIIHUN 


and  buy  with  assurance 

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KODASCOPE 
MODEL  G 


TF  there  is  such  a  thing  as  a  "matched  set"  in  the  home  movie 
field,  the  16  mm.  camera  and  projector  you  see  above  are 
it.  Both  are  designed  to  provide  every  popular  operating 
refinement  at  an  extremely  reasonable  price,  and  to  couple 
these  taking  and  projection  conveniences  with  the  utmost 
simplicity  of  operation. 

MAGAZINE  CINE-KODAK  is  probably  the  easiest  cam- 
era in  the  world  to  operate.  Yet  it  is  also  one  of  the  most  ver- 
satile. You  load  it  in  three  swift  motions — slip  open  the  cover, 
slip  in  a  film  magazine,  latch  the  cover.  And  you  can  change 
magazines — black-and-white  to  Kodachrome,  and  back  again 
— without  wasting  a  single  film  frame,  even  when  the  maga- 
zines are  but  partly  exposed.  Three  speeds — normal,  inter- 
mediate, slow  motion.  Its  famous  Kodak  Anastigmat  /.1. 9 
lens  is  interchangeable  with  seven  accessory  lenses,  ranging 


from  a  fast,  focusing,  wide-angle  lens  to  a  6-inch  telephoto. 
One  full-vision,  eye-level  finder  system  serves  them  all. 
KODASCOPE,  MODEL  G,  is  simply  in  a  class  by  itself. 
You  buy  it  with  any  of  fifteen  lens-lamp  combinations,  one  of 
which  will  provide  exactly  the  screen  illumination  you  need 
for  your  shows.  Controls  are  centralized — one  four-way 
switch  just  about  runs  the  machine.  Threading  is  extremely 
simple,  and  a  pilot  lamp  makes  it  still  simpler.  Bearings  are 
self-lubricating.  Focusing,  framing,  tilting  are  positive,  finger- 
tip operations.  "Stills,"  reverse  projection,  high  speed  motor 
rewind — the  "G"  has  them  all. 

Magazine  Cine-Kodak  is  priced  at  but  $117.50,  with  f.1.9 
lens;  Kodasrope  0  is  priced  from  $llS.So,  including  lens  and 
lamp.  See  this  outstanding  equipment  at  Cine-Kodak  dealers' — 
or  write  Rochester  for  free  literature. 


EASTMAN     KODAK     COMPANY,  ROCHESTER, 


September,  1938 


•    American  Cinematographer  377 


AMATEUR  MOVIE 


SECTION 


SOCIETY 

OF  AMATEUR 

CINEMATOGRAPHERS 


BOARD  OF  REVIEW 

Victor  Milner,  President,  A.S.C.,  Director 
of  Photography  Paramount  Studios,  Acad- 
emy Award  Winner  1935 

ICarl  Struss,  A.S.C.,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award 
Winner  1928 

Fred  W.  Jackman,  Treasurer  American  So- 
ciety of  Cinematographers 

Dan  Clark,  A.S.C.,  Director  of  Photog- 
raphy Twentieth  Century-Fox 

Tony  Gaudio,  A.S.C.,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 
Award  Winner  1937 


Contents.... 


And  the  stills  are  still  with  us  378 

By  George  Blaisdell 

Roundup  with  crowding  thrills  just  per- 
fect filmer's  paradise  379 

By  Ormal  I.  Sprungman 

Filming  unusual  travelogue  with  back- 
ground of  everchanging  ocean  383 

By  Robert  W.  Teorey 

Canadians   pack   Sports   Arena  to  see 

Duncan  Little's  film  of  race  385 

By  Duncan  MacD.  Little 

How  to  control  lighting  without  as  well 

as  where  sun  is  barred  386 

By  William  Stull,  A.S.C. 

Stith-Noble  scores  advance  in  matching 
quality  in  Kodachrome  387 

Two  manufacturers  suggest  still  cameras 
as  auxiliaries  to  movies  388 

Eastman  releases  three  minicam  high 
speed  and  fine  grain  films  389 

Study  your  cine  titler  and  note  variety 

of  close-ups  it  reveals  390 

By  Robert  W.  Teorey 

Eastman  Kodak  issues  230-page  book, 
"How  to  Make  Good  Movies"  391 

Bell  and  Howell  introduce  Filmo  8  candid 
carrying  case  for  speed  393 


378      Amekican  CiNEMATOGKAPHER    •    September,  1938 


And  the  stills  are  still  with  us 


WE  COMMEND  to  our  readers'  at- 
tention among-  other  stories  this 
month  that  from  the  typewriter 
of  Ormal  Sprungman  of  Minneapolis.  It 
was  built  by  a  man  who  loves  as  he 
knows  his  West,  on  horseback  or  stand- 
ing hips  deep  in  tumbling  streams.  Sub- 
stitute camera  for  West,  and  the  same 
holds  true. 

On  the  morning  of  the  day  these  clos- 
ing lines  were  written  for  the  September 
issue  (we  more  than  fervently  hope)  we 
received  a  note  from  this  writer-fisher- 
man-camerist  setting  forth  he  was  leav- 
ing early  the  following  morning  (August 
25)  for  a  pack  trip  in  Western  Montana, 
adding  he  was  taking  a  lot  of  color 
stills  and  color  movies  on  the  jaunt.  He 
would  be  away  nearly  a  month. 

▼ 

A  few  moments  ago  we  were  wonder- 
ing where  on  a  sunny,  somewhat  sultry 
Saturday  afternoon  in  the  residential 
silences  of  a  block  above  Hollywood 
boulevard,  with  a  near  forest  of  trees 
on  one  side,  on  two  sides,  and  a  $700,000 
Methodist  church  a  block  away  on  an- 
other— tie  that,  you  who  believe  all  the 
wicked  you  hear  about  Hollywood — we 
were  wondering  who  would  supply  some- 
thing to  talk  about. 

What  could  be  better  than  that  re- 
mark of  Sprungman  he  was  going  to  ex- 
pose a  lot  of  color  stills  and  color  mov- 
ies? Even  should  they  rather  be  all 
black  and  white  the  remark  still  is  inter- 
esting. 

On  another  page  in  this  book — the  last 
time  we  saw  the  story  it  was  388 — there 
is  a  tale  of  two  of  the  larger  manufac- 
turers who  are  building  against  the  day 
when  the  custom  of  using  both  kinds  be- 
comes even  better  established  than  it 
seems  to  be  at  this  time. 

Eastman  always  has  plunged  on  the 
still  side  of  the  house.  It  did  a  long  time 
ago  for  the  simple  reason  at  that  time 
there  were  no  motion  picture  cameras. 
But  all  through  the  present  era  of  ama- 
teur motion  pictures  it  has  never  over- 
looked the  throng  which  clung  to  the 
still  division.  It  is  expanding  its  atten- 
tion to  the  still  camera. 

T 

Bell  and  Howell,  thirty  years  delving 
into  motion  picture  cameras,  both  pro- 
fessional and  amateur,  has  now  taken  on 
the  representation  of  a  miniature  cam- 
era, one  built  abroad.  While  the  repre- 
sentation at  this  time  extends  to  but  six- 
teen states,  there  is  no  reason  to  believe 
the  expansion  will  stop  at  that  point. 

The  professional  movie  studios  many 
years  ago  learned  that  only  through  a 
still  camera  could  they  more  completely 
describe  the  achievements  of  the  cine 
camera. 

▼ 

The  IRmm.  camera  continually  is 
reaching  into  the  professional  realm,  as 


By  GEORGE  BLAISDELL 

it  has  been  for  a  long  time.  In  the  pro- 
fessional section  of  this  issue  is  a  story 
on  what  Erpi  has  been  achieving  in 
sound  recording  in  16mm. 

T 

And  another  article  we  wish  to  call  to 
your  especial  attention — in  the  event  you 
still  are  with  us — is  that  opening  one 
written  by  Dr.  Robert  W.  Carter  wherein 
he  answers  the  many  questions  that  have 
been  leveled  at  him  since  his  first  com- 
munication in  these  columns  last  July. 

The  Doctor  admits  these  widespread 
and  important  inquiries  have  aided 
him  and  those  associated  with  him  in 
forming  a  definite  opinion  regarding  the 
keen  interest  in  metal  film  and  its  pro- 
jection. He  reports  the  questions  rang- 
ing from  high  technical  points  regarding 
the  reproduction  of  sound  from  metal 
film  to  practical  points  about  speed  of 
exposure,  development  and  the  fixing  of 
the  image  on  metal. 

It  is  with  pleasure — and  gratification — 
that  we  assure  our  readers  there  will  be 
following  articles  in  this  most  fascinat- 
ing development  in  the  field  of  motion 
picture  research  today,  although  it  is 
worth  noting  the  Doctor  reminds  us  that 
the  permanent  reproduction  of  a  photo- 
graphic image  on  metal  at  a  price  com- 
patible with  modern  requirements  marks 
the  end  of  their  research.  "The  commer- 
cial development  and  exploitation  we 
must  rest  in  other  hands,"  he  concludes 
on  the  matter  of  research. 

T 

On  the  afternoon  of  August  17  along 
with  Bob  Teorey  there  was  a  run  out  to 
Santa  Ana  to  visit  the  Orange  County 
8mm.  Club  and  to  pass  what  might  be 
the  best  judgment  we  had  on  the  rela- 
tive merits  of  five  subjects  submitted  in 
summer  competition.  The  club  has  been 
organized  but  five  months.  It  has  a  fully 
paid  membership  of  fifty,  and  the  at- 
tendance at  each  meeting  averages  a 
hundred.  So  there  certainly  is  a  future 
for  Orange  County  8mm. 

After  the  showing  the  two  Angelenos 
were  entertained  at  dinner  by  E.  M. 
Sundquist  and  R.  N.  Hockaday,  both  of 
whom  as  it  happens  are  members  of 
Los  Angeles  8mm.  and  frequently  give 
no  particular  thought  to  undertaking  a 
round  trip  of  a  hundred  miles  or  so  to 
attend  sessions  in  Hollywood. 

The  stated  meeting  of  Orange  County 
was  held  in  an  assembly  room  of  Junior 
High  School.  The  first  prize  was  awarded 
to  Harold  D.  Warner  for  his  splendid 
Kodachrome  portrayal  of  everyday  expe- 
riences of  an  orange  rancher.  "Growers' 
Friends  and  F'oes"  revealed  the  constant 
vigilance  imposed  on  the  grower  by  his 
tiny  enemies.  In  craftsmanship  and  in 
the  thought  that  lay  behind  the  dis- 


tinctly educational  product  there  are 
abundant  reasons  why  the  picture  should 
have  a  wide  audience. 

"The  Queen  and  the  Commoner,"  a 
drama  with  a  comedy  touch,  submitted 
by  Harold  Witt,  was  awarded  second 
prize  for  the  excellent  work  done  by  these 
young  folks  of  high  school  age.  Here  is 
a  group  by  the  way  that  will  be  serious 
contenders  when  we  reach  the  stage  of 
a  national  high  school  contest,  which  is 
bound  to  come. 

E.  M.  Sundquist,  for  his  "Parks  in 
Southwestern  United  States,"  a  Koda- 
chrome subject  that  reached  even  into 
Colorado,  was  given  third  prize.  Hon- 
orable mention  for  two  black  and  white 
pictures  was  awarded  "Snapshots  of 
Sally,"  R.  N.  Hockaday  producer,  and 
"A  Weekend  Visitor,"  submitted  by  0.  L. 
Jacobs. 

The  program  closed  with  the  showing 
of  Bob  Teorey's  "Golf  Widow."  There 
was  every  audible  evidence  this  comedy 
tale  of  the  golf  widow  who  may  have 
been  fickle  but  certainly  was  not  lone- 
some made  a  genuine  hit. 

T 

James  W.  Moore,  continuity  and  club 
consultant  of  the  Amateur  Cinema 
League,  420  Lexington  avenue,  New 
York,  has  prepared  "Featuring  the  Fam- 
ily," a  thirty-four  page  booklet  of  sce- 
narios for  distribution  among  members 
of  that  organization.  The  subjects  cho- 
sen are  the  more  familiar  family  occa- 
sions usually  selected  for  filming. 

Four  of  these  have  been  prepared  in 
full  scenario  form:  The  Birthday  Party, 
An  Evening  at  Home,  The  Wedding  and 
Christmas.  In  treatment  outline  are  The 
Day's  Outing  and  From  Dawn  to  Dusk. 
The  number  of  scenes  in  the  four  scena- 
rios are  respectively  43,  51,  35,  and  78. 

The  book  is  thoroughly  planned  and 
will  have  real  interest  for  those  who  like 
to  make  'em  but  just  positively  can't 
write  'em. 

T 

Through  fault  for  once  at  least  not 
entirely  our  own  there  was  failure  last 
month  to  give  credit  due  to  Esther 
Bfodelet,  Twentieth  Century-Fox  player 
then  working  in  "Hold  That  Coed,"  for 
posing  in  the  pictures  that  accompanied 
the  illuminating  story  on  filters  contrib- 
uted by  Earl  Theisen.  We  regret  the 
omission. 

T 

Late  in  August  at  the  Bell  and  How- 
ell auditorium  we  were  shown  by  R.  F. 
Heron,  director  of  public  relations  of  the 
Plant  Culture  League,  a  reel  and  a  half 
of  16mm.  color  film  showing  the  remark- 
able advances  that  have  been  achieved 
in  the  newer  field  of  tank  farming.  Mr. 
Heron  has  been  a  still  photographer  for 
many  years.  He  well  might  have  laid 
claim  to  many  years'  experience  in  the 
(Continued  oyi  Page  385) 


September,  1938    •    American  Cinematographer  379 


Roundup  with  Crowding  Thrills 
Just  Perfect  Filmefs  Paradise 

If  You  Can  Keep  Your  Mind  Off  the  Blondes  You  Can 
Bring-  Home  More  Prizes  on  Celluloid  Than  Top 
Hands  of  Rodeo — East  Recognizing  Crowd- 
Pulling  Possibilities  of  This  He-Man 
Entertainment — Veteran  Camerist 
Gives  Benefit  of  Experience 
By  ORMAL  I.  SPRUNGMAN 

Photographs  by  the  WHter  —  Including  16mm. 
Enlargements  from  His  Oivn  Rodeo  Reels 


YOU  don't  have  to  be  a  third  cousin  of  Buffalo 
Bill  to  make  "yippee  movies"  of  the  wild  and 
woolly  West.  If  you  can  perch  on  a  fence  post 
and  shoot  up  an  afternoon  of  blood-tingling  excite- 
ment— keeping  your  mind  off  the  blonde-haired 
dudeens — you  can  bring  home  more  prizes  on  cellu- 
loid than  all  the  top  hands  of  rodeo. 

Each  summer  and  fall  every  little  whistle  stop 
in  the  West  dons  its  ten-gallon  hat,  hangs  a  gala 
dress  over  its  downtown  streets,  and  stages  a  round- 
up which  offers  more  thrills  than  a  whole  park 
full  of  roller  coasters. 

Even  the  East  has  begun  to  recognize  the  crowd- 
pulling  possibilities  of  this  he-man  entertainment, 
and  its  wide  acceptance  has  made  rodeo  action  film- 
ing the  number  one  pursuit  of  many  still  and  movie 
photographers. 

Bronc  busting  and  bulldogging  are  no  pastimes 
for  amateurs.  Because  inviting  purses  tempt  the  best 
rodeo  performers  in  the  field,  who  also  happen  to 
know  a  few  things  about  showmanship,  roundup 
movies  need  never  suffer  for  lack  of  interest  or 
action. 

There  isn't  a  single  event  in  an  afternoon  program, 
from  calf-roping  to  trick  riding,  that  won't  keep  a 


cine  audience  on  edge  and  yelling  for  more.  How  to 
film  the  show  to  best  advantage  is  your  only  problem. 

Sit  Through  One  Day 

K  you  have  never  before  witnessed  a  rodeo,  sit 
through  the  first  day's  performance  just  to  get  the 
hang  of  the  thing.  Note  the  types  of  stunts  and  make 
a  mental  record  of  the  best  camera  angles  for  shoot- 
ing the  various  scenes.  Try  out  the  different  seats, 
not  for  hardness,  but  rather  for  filming  locations. 

Maybe  the  last  row  in  the  grandstand  will  give 
you  a  nice  vantage  point  from  which  to  film  down 
upon  the  main  arena,  while  a  ground  level  will  be 
best  for  the  bucking  shots.  Notice  particularly  the 
placement  of  the  vertical  posts  and  crossbeams,  and 
be  sure  that  none  will  obstruct  camera  view  once 
you  get  set. 

Study  a  copy  of  the  program  explaining  the 
different  events  and  call  upon  the  men  in  charge  of 

Left — Illustrations  cut  from  netvspapers  or  rrmgazines  ivill 
often  dress  up  rodeo  titles.  These  title  cards  are  from  the 
wHter's  cum  western  rodeo  reel. 

Right — This  label  title  receives  a  humorous  touch  from  news- 
paper drawings  clipped  from  Denver  Post  mounted  on  dark 
title  card  and  outlined  with  white  ink. 


380     American  Cinbmatographer    •    September,  1938 


the  show  who  no  douVjt  will  be  glad  to  help  you 
with  serious  shooting  problems.  At  a  recent  rodeo 
in  Western  Montana  the  writer  was  given  the  priv- 
ilege of  shooting  from  inside  the  fence,  but  after 
watching  a  hot  session  of  hoof-kicking  he  decided 
henceforth  to  do  all  his  filming  from  the  safe  side, 
which  is  the  outside. 

There  probably  is  no  such  thing  as  the  ideal 
camera  for  rodeo  filming,  but  any  outfit  with  an 
f/3.5  or  f/1.9  lens  should  be  satisfactory  for  most 
types  of  weather  conditions  that  prevail  in  the  West. 
It  is  not  essential,  but  it  certainly  would  lend  variety 
to  shoot  with  an  outfit  equipped  with  different 
shutter  speeds. 

Variety  in  Speeds 

For  instance,  32  or  64  frames  per  second  would 
permit  a  detailed  study  of  the  movements  of  the 
horse  and  the  facial  expressions  of  the  rider  en- 
gaged in  sun  climbing  or  roping.  Since  the  action 
is  naturally  fast  and  furious,  even  24  frames  per 
second  would  give  a  more  pleasant  screen  per- 
formance. 

For  a  humorous  eflFect,  take  one  or  two  shots  of 
bronc  busting  at  8  frames  per  second.  This  will  pro- 
duce rapid  action  on  the  screen,  and  the  result  will 
probably  draw  a  lengthy  chuckle. 

While  interesting  movies  may  be  taken  with  the 
ordinary  one-inch  lens,  a  telephoto  lens — either  the 
three,  four  or  six  inch — is  extremely  helpful  for 
bringing  in  close-ups  of  the  action  from  safe,  remote 
distances.  In  fact,  after  your  stage  is  set  with  a 
few  long  shots  of  the  arena,  much  of  your  filming 
will  be  done  with  the  telephoto  lens. 

Tripods  and  telephoto  lenses  should  always  walk 
hand  in  hand.  It  is  not  always  possible  nor  conven- 
ient, however,  to  set  up  a  tripod  in  an  overcrowded 
grandstand  or  along  a  fence  line.  The  next  best  bet 
is  to  find  locations  where  the  camera  can  be  held 
securely  while  running  to  prevent  an  influx  of 
wobbly  looking  scenes. 

Usually,  any  post  which  holds  up  the  roof  will 
serve  nicely  as  an  impromptu  tripod.  Merely  hold 
the  camera  against  the  side  of  the  post,  grasping 
post  and  camera  with  both  hands,  and  if  you  wish 
to  panoram  to  follow  the  action,  swing  body  and 
hands  slowly  but  do  not  remove  the  camera  from 
the  post.  Rock-steady  telephoto  shots  can  be  assured 
in  this  manner. 

Keep  Finder  Free 

If  you  film  from  ringside  rest  the  camera  atop 
one  of  the  fence  posts  or  fit  it  tightly  in  the  crotch 
of  the  wiremesh  and  shoot  to  your  heart's  content. 
The  only  precaution  is  making  sure  that  the  camera 
support  does  not  interfere  with  sighting  through 
either  view  finder,  for  the  object  followed  must  be 
perfectly  centered  in  the  finder  at  all  times. 


16 mm  enlargements. 

1 —  As  a  suggested  opening,  fade  in  on  a  closeup  of  a  rodeo 
sign  on  an  auto  tire  cover,  fading  out  as  car  m^ves  slowly 
aivay. 

2 —  Tongue  lolling,  tail  aflutter,  this  bronc  pi'ovides  excellent 
movie  action. 

3 —  This  telephoto  close-up  shows  excited  expression  of  woman 
atop  frenzied  horse. 

U — In  this  scene  the  sign  in  background  reveals  location  of 
rodeo,  along  with  action. 


I 


September,  1938    •    American  Cinematographer  381 


If  you  are  a  monochrome  filmer,  panchi"omatic 
stock  will  fit  your  needs,  but  for  end-of-the-day 
shooting,  when  the  sun  plops  behind  a  tall  mountain 
and  shadows  begin  to  creep  over  the  arena  floor, 
supersensitive  film  will  be  better.  I  have  found  that 
a  Ix  or  2x  yellow  filter  gives  much  better  definition 
of  the  subject  when  filmed  in  this  dust-laden  atmos- 
phere. 

Use  Tire  Cover 

No  filter  is  necessary  of  course  if  Kodachrome  is 
used,  for  here  almost  flat  lighting  will  give  the  best 
color  pictures.  Do  not  attempt  to  film  color  close-ups 
of  faces  heavily  shaded  by  ten-gallon  hats.  If  the 
light  is  not  right  move  around  until  proper  lighting 
can  be  combined  with  the  best  shooting  angle. 

Now  that  you  have  a  general  idea  of  how  a  rodeo 
functions,  plan  a  special  continuity  for  your  picture. 
Don't  be  content  to  shoot  the  action  and  let  it  go 
at  that. 

You  might  fade  in,  for  instance,  with  a  close-up  of 
a  poster  or  road  sign  advertising  the  rodeo  and  then 
panoram  to  right  or  left  to  show  the  crowds  enter- 
ing the  grounds.  Or  you  might  focus  your  lens  on  a 
close-up  of  the  rodeo  sign  painted  on  an  auto  tire 
cover,  and  when  you  have  run  olT  a  little  footage 
motion  to  the  driver  to  start  slowly  down  the  road 
for  a  fadeout.  Follow  up  by  showing  the  same  car 
entering  the  rodeo  grounds  and  the  occupants  step- 
ping out  to  join  the  crowds  pouring  into  the  stands. 

There  is  still  another  possibility.  Open  with  a  long 
shot  of  the  crowds  mulling  about,  and  then  swing  to 
a  near  shot  of  a  ticket-taker,  and  finally  a  close 
close-up  of  a  couple  of  printed  ducats,  revealing  the 
name,  place  and  date  of  the  rodeo  celebration.  Pano- 
ram swiftly  to  a  close-up  of  several  spur  boots  walk- 
ing in  through  the  gates  and  lift  the  camera  slowly 
to  show  a  long  shot  of  the  layout. 

Be  sure  to  arrive  at  the  gate  at  least  an  hour  early. 
There  are  always  interesting  close-ups  that  may  be 
snatched  before  the  area  becomes  too  congested. 

Opening  Action  Shot 

Try  a  long  shot  of  the  crowds  in  the  stands,  and 
then  bring  the  camera  up  close  for  an  over-the- 
shoulder  shot  of  somebody  reading  the  printed  pro- 
gram describing  the  events  in  order.  You  can  cut 
up  your  own  program  when  you  get  home  and  shoot 
extreme  close-ups  of  the  essential  printed  matter  in 
your  cine  titler,  inserting  this  information  before 
the  appropriate  bit  of  action. 

Another  way  is  to  have  a  friend  hold  the  opened 
program  two  or  three  feet  in  front  of  the  lens  to 
give  the  appearance  of  a  printed  title,  and  then, 
after  the  wording  has  been  read,  slowly  lower  the 
program  out  of  camera  view  to  reveal  the  first  bit  of 
action  in  the  arena.  Naturally,  the  swing  from  close- 
up  to  long  shot  will  require  a  quick  twist  of  the  lens 

16mm  enlargements. 

5 — For  close-ups  like  this,  leave  your  grandstand  seat  and 
shoot  from  ground  level  through  fence. 

<> — Gaily  dressed  cowhands  and  attractive  steeds  will  photo- 
graph well  with  color  film.  Use  flat  lighting,  however. 

7—  A  three-inch  telephoto  captured  this  priceless  scene  as  the 
rider  slipped  the  noose  over  the  calf's  head.  When  pano- 
raming,  note  how  blurred  background  accentuates  figures 
in  foreground. 

8 —  Where  action  is  spread  out,  as  in  this  calf-roping  scene, 
the  one-inch  lens  covers  the  field  better. 


382     American  Cinematographer    •    September,  1938 


•  (jldjicx  jjliotos. 

Left — Frame  the  opening  parade  through  the  roof  supports  from  a  high  vantage  point  in  the  grand  stand.  Right — The 
ordinary  one-inch  lens  is  ideal  for  including  the  whole  field  of  action,  as  above,  but  for  close-up  study  use  the  telephoto. 
(NOTE :  This  shot  shows  white  bronc  in  midair  with  all  four  feet  off  ground.) 


barrel,  but  this  can  be  accomplished  easily  and 
smoothly  with  a  little  practice. 

After  the  judges  on  their  mounts  are  presented,  a 
parade  of  all  participants  in  the  show  usually  pro- 
ceeds around  the  arena.  There  is  nothing  remarkable 
about  this,  except  that  it  provides  an  appropriate 
introduction  for  succeeding  footage. 

With  this  opener,  shoot  down  over  the  silhouetted 
heads  of  the  audience,  showing  the  parade  in  the 
background,  then  change  lenses  quickly  and  bring 
the  contestants  into  a  semi-close-up.  Don't  devote  too 
much  footage  to  the  parade,  for  the  events  that 
follow  will  be  screaming  for  every  bit  of  your  film. 

Bronc-busting  action  will  steal  a  lot  of  your  foot- 
age. If  the  chute  is  across  from  where  you  are  shoot- 
ing use  the  telephoto  lens  almost  exclusively  to  show 
the  rider  being  lowered  down  on  the  horse  and  re- 
leased into  the  arena.  Perhaps  one  out  of  every  two 
riders  will  be  thrown  before  time  is  up,  and  these 
spills  will  carry  all  the  thrills  of  a  bone-breaking 
pile-up  in  a  football  encounter. 

Watch  Horse 

Calf -roping  and  bull-dogging  show  up  better  when 
filmed  from  an  elevated  seat  in  the  grandstand, 
rather  than  at  ground  level.  After  the  noose  tightens 
around  the  fleeing  calf  note  how  the  horse  is  espe- 
cially trained  to  keep  a  tight  line  while  the  rider 
dashes  madly  over  the  field  to  bind  the  feet  of  the 
youngster. 

In  bull-dogging  watch  the  rider  as  he  pursues  the 
steer,  and  be  sure  to  catch  that  hectic  moment  when 
the  rider  slips  off  his  mount,  grasping  the  horns  of 
the  animal  in  an  astounding  headlock.  Rarely  does 
the  rider  ground  the  steer  at  the  first  crack. 

If  the  action  is  close  to  your  side  of  the  fence, 
dash  down  out  of  the  stands  and  get  a  nearby  close- 
up  with  the  one-inch  lens,  showing  the  twisted  head 
of  the  animal  and  the  perspiring,  cussing  cowhand 
in  action.  Remember  that  plenty  of  close-ups  will 
spice  up  your  film. 

Native  dances  by  local  Indians,  as  well  as  trick 
roping  and  other  stunts,  will  furnish  a  welcome 
breathing  spell  in  between  the  pulse-quickening  acts, 
the  native  costumes  particularly  adding  a  nice  touch 
if  filmed  in  color. 

Most  rodeos  have  at  least  one  daredevil  woman 


performer  whose  feats  will  create  sensational  foot- 
age. One  well-known  rodeo  cowgirl  from  Mexico 
City,  for  instance,  numbers  among  her  more  recent 
accomplishments  a  dangerous  leap  over  a  parked 
automobile  while  standing  astride  the  backs  of  her 
two  thoroughbred  horses.  Other  members  of  the 
fairer  sex  engage  in  bronc-busting  and  bull-dogging 
with  all  the  ferociousness  of  a  plug-chewing  cow- 
hand. Such  personages  in  action  make  movies  thrill- 
ing to  watch. 

Unexpected  Moments 

What  gives  the  rodeo  its  popular  reputation  are 
the  unexpected  moments  when  almost  anything  may 
happen.  It  is  not  extremely  rare  that  a  bull-dogger 
snaps  the  neck  of  a  steer,  or  gets  trampled  under 
the  hoofs  of  a  wicked,  sunfishing  horse.  Spills  are 
common  off  wild-eyed  broncs,  and  the  audience  looks 
forward  to  them  happily  while  the  unfortunate  rider 
rubs  his  bumps,  grinning  sheepishly. 

Occasionally,  an  unusually  frisky  horse  will  carry 
its  youthful  rider  right  over  the  arena  fence,  with 
experienced  hands  suddenly  taking  pursuit  to  rescue 
the  lad  from  possible  harm. 

It  is  not  even  unusual  when  a  movie  camera  be- 
haves queerly  after  being  subjected  to  several  excit- 
ing hours  of  rodeo  filming.  Once  out  West,  just  as 
a  bull-dogger  was  about  to  break  a  record,  my  cam- 
era jammed.  I  rushed  down  under  the  grandstand, 
tossed  an  old  coat  over  my  head,  rethreaded  the  film, 
and  rushed  out  in  the  open  a  few  seconds  too  late, 
for  the  record  already  had  been  made.  Such  happen- 
ings pack  a  punch  in  this  type  of  filming.  They  fit 
the  mood  of  the  rodeo  itself. 

Some  performances  often  are  preceded  by  a  color- 
ful parade  through  the  downtown  business  section, 
only  to  be  followed  by  a  wild  celebration  after  dark, 
with  dancing  over  cornmeal-strewn  streets  until 
early  morning. 

If  possible,  shoot  these  activities  in  full,  for  they 
represent  the  true  spirit  of  the  carnival  holiday. 
Intersperse  this  footage  with  a  few  shots  of  guitar- 
strumming  cowboys  singing  on  the  streets  or  parked 
in  doorways.  You  may  have  to  go  pretty  far  West 
to  find  a  cowhand  who  plays  the  guitar,  but  the 
public  has  been  reared  on  this  sort  of  stuff,  and  it's 
too  late  now  even  to  think  of  changing  the  diet. 


September,  1938    •    American  Cinematographer  383 


Filming  Unusual  Travelogue  with 
Background  of  Everchanging  Ocean 

Record  Made  on  8mm.  Film  when  Chester  Convoyed 
Indianapohs   Bearing-  President   Roosevelt  to 
South  America  in  1936 — Filming  Each  Port 
as  Sequence,  Alternating  with  Voyage 
En  Route  as  Complementary  Chapter 
in  Story  Covering  17,000  Miles 

By  ROBERT  W.  TEOREY 

Late  First  Sergeant  United  States  Marines,  Now  in  Reserve 


AT  one  time  or  another  the  thoughts 
/-%  of  many  cine  filmers  stray  to  con- 
templation  of  the  seas  as  a 
medium  for  inordinary  filming  which 
may  bring  an  intense  longing  to  em- 
bark on  an  ocean  voyage  to  the  far 
corners  of  the  earth  with  camera  and 
film,  and  eventually  many  of  us  are  pre- 
sented with  an  opportunity  to  fulfill  our 
desires. 

Immense  expanse  of  water  has  the 
power  to  conjure  visions  of  strange  far- 
off  lands  full  of  adventure  and  romance. 
It  is  a  source  of  mystery  in  everchanging 
moods  that  vary  from  day  to  day  which 
many  photographers  delight  in  por- 
traying. 

There  are  periods  when  the  ocean  is 
mirror  smooth,  reflecting  lazily  drifting 
clouds  in  unplumbed  depths,  while  the 
dawn  of  a  new  day  will  reveal  a  dis- 
turbed surface  of  long  undulating  rollers 
that  gently  nudge  our  ship  as  it  steams 
its  course,  setting  up  a  slight  roll  that 
seems  to  invite  one  to  sleep-in  as  the 
horizon  shifts  slowly  through  an  open 
port. 

Occasionally  it  is  in  a  truculent  mood 
with  foaming  whitecaps  crowning  the 
speeding  waves  as  they  endlessly  race 
one  another  toward  an  unknown  desti- 
nation while  sea  birds  skim  in  effortless 
glide  over  the  shifting,  tumbling  waters. 

Towering  Wave  Masses 

As  evening  approaches  the  mood  may 
change  to  one  of  storming  violence  with 
towering  wave  masses  crashing  with  a 
roar  over  the  bow  as  the  ship  steadily 
bucks  her  way  through  the  gale;  a  salty 
tang  in  the  air  and  the  smarting  beat 
of  spoondrift  in  the  seafarer's  face  as 
he  scans  the  horizon  which  conceals 
scenes  of  tomorrow. 

November  1936,  found  me  serving  as 
first  sergeant  of  marines  on  board  the 
heavy  cruiser  U.S.S.  Chester,  bound  on 
a  cruise  during  which  I  attempted  to 
portray  the  changing  aspects  of  the  seas 
as  an  integral  part  of  my  travelogue. 

The  ship  had  been  ordered  to  an  un- 


known destination  from  San  Francisco 
with  all  hands  conjecturing  as  to  our 
mission.  It  was  finally  decided  that  we 
were  headed  for  Panama,  but  no  reason 
for  our  sudden  move  was  divulged  until 
our  arrival  at  Balboa,  C.Z.,  where  it  was 
learned  we  were  to  proceed  to  Charles- 
ton, S.  C,  to  prepare  to  act  as  convoy 
to  the  U.S.S.  Indianapolis,  which  would 
cari-y  President  Franklin  D.  Roosevelt 
to  South  America  on  a  good  will  mission. 

Cameras  had  been  barred  from  Navy 
ships  for  several  months,  and  upon 
learning  the  unusual  feature  of  the 
cruise  all  photographic  fans  aboard  be- 
came disturbed  at  the  prospect  of  a  long 
journey  without  pictures.  On  several 
occasions  in  the  past  I  had  projected 
pictures  for  the  Captain,  so  I  felt  free 
to  approach  him  with  our  plight. 

Short  Stays  in  Port 

A  radio  message  to  Washington 
promptly  brought  authority  to  have 
cameras  aboard  for  the  duration  of  the 
cruise.  Special  airmail  letters  were  soon 
speeding  to  the  States  requesting  that 
cameras  be  shipped  to  Charleston  as 
expeditiously  as  possible  and  filmers 
were  happy  once  more. 

Shortly  after  our  arrival  at  the  South 
Carolina  port  the  itinerary  of  the  com- 
ing trip  was  published.  Finding  that 
most  of  our  stops  at  foreign  ports  would 
be  limited  to  a  few  hours  I  decided  upon 
a  simple  plan  of  action. 

Each  port  would  be  filmed  as  a 
sequence,  while  each  voyage  en  route 
would  be  another,  and  as  the  latter 
would  involve  days  of  travel  much  op- 
portunity to  portray  the  sea  would  be 
aff'orded  me.  A  fading  glass  was  used 
to  fade  in  and  out  of  each  sequence 
which  proved  very  effective  in  procuring 
the  desired  effect. 

Although  wintry  weather  had  de- 
scended on  Charleston  I  managed  to 
start  my  travel  pictures  by  obtaining 
shots  of  historical  buildings  and  local 
color,  and  as  we  steamed  to  sea  I  se- 


cured shots  of  the  city  water  front, 
finally  fading  out  on  Fort  Sumter. 

Fading  in  on  the  U.S.S.  Indianapolis 
framed  by  an  open  port  began  my  first 
shots  of  the  sea  and  many  pictures  were 
taken  as  we  passed  the  West  Indies  en 
route  to  Port  of  Spain,  Trinidad. 

Our  ship  anchored  about  two  miles 
from  that  port,  so  I  began  my  opera- 
tions by  picturing  the  first  liberty  party 
proceeding  to  the  docks  by  means  of 
motor  launches,  to  be  followed  by  vari- 
ous views  taken  in  the  tropical  city  con- 
sisting of  street  scenes,  two-wheeled 
carts  drawn  by  a  single  pony  with  the 
driver  standing  upright  on  the  vehicle 
in  charioteer  style  as  it  rattled  through 
the  street,  while  native  women  grace- 
fully balancing  huge  loads  on  their 
heads  threaded  their  ways  unconcern- 
edly through  the  throng  interspersed 
with  street  vendors  conducting  a  desul- 
tory business  with  occasional  customers. 

The  return  trip  to  the  ship  concluded 
my  recording  of  Port  of  Spain  and  my 
next  underway  scenes  brought  us  to  the 
equator,  where  King  Neptune  came  forth 
to  harry  the  luckless  Pollywogs  by  an 
initiation  that  would  convert  them  to 
the  rank  of  Shellback,  or  one  who  had 
crossed  the  line. 

Shellbacks  Haze  Pollywogs 

The  day  prior  to  our  arrival  at  the 
equator  found  the  Shellbacks  mildly  haz- 
ing the  Pollywogs,  and  many  shots  were 
recorded  of  their  antics.  That  evening 
found  Davy  Jones  aboard  to  secure  a 
record  of  all  offending  Pollywogs,  and 
by  the  beam  of  a  ship's  searchlight  this 
emissary  of  the  Ruler  of  the  Deep  was 
depicted  on  film  as  he  started  his 
activities. 

On  the  following  morning  many  un- 
happy crew  members  were  confined  in 
irons  or  wooden  stocks  awaiting  the  ar- 
rival of  King  Neptune,  who  soon  entered 
the  scene  with  his  Queen,  the  Lady  in 
Waiting  and  the  Royal  Baby,  to  be  fol- 
lowed by  his  retinue  consisting  of  G-men, 
Cops,  Bears,  Doctors,  Barbers,  a  blaring 


384     American  Cinematographer    •    September,  1938 


band  and  a  host  of  other  retainers  all 
appropriately  costumed  to  fill  their 
parts. 

An  honor  guard  composed  of  junior 
officers  received  his  Royal  Nibs  as  he 
approached  the  Captain,  who  turned  the 
ship  over  to  the  Sea  King.  Immediately 
the  Skull  and  Cross  Bones  flag  of  the 
Sea  Rogue  was  run  up  on  the  mast  after 
which  the  King  and  his  minions  paraded 
about  the  decks  before  the  former 
mounted  to  his  throne,  which  had  been 
built  on  one  end  of  a  raised  platform 
installed  on  the  quarter  deck. 

A  huge  tank  full  of  sea  water  occu- 
pied a  space  to  the  front  of  the  i)lat- 
form.  Barber  chairs  that  would  flip 
back  and  deposit  luckless  victims  into 
the  water  were  in  readiness  for  the 
proceedings  that  began  by  the  first 
off'ender  being  thrust  before  the  judges. 

Drinks  from  Bottle 

As  the  charge  of  being  a  rank  lands- 
man was  read  by  the  presiding  judge, 
the  hapless  man  was  harassed  by  the 
Rcyal  Devils,  who  applied  electrically 
charged  forks  to  his  bare  feet,  bringing 
forth  an  impromptu  dance. 

He  was  then  forced  to  crawl  before 
the  King,  and  while  a  henchman  passed 
an  ancient  fish  over  his  face  and  the 
Royal  Baby  insisted  that  a  sample  be 
taken  of  the  bitter  contents  of  a  milk 
bottle,  the  Ruler  confirmed  the  fate  of 
this  person,  which  proved  to  be  that  of 
all  PoUywogs. 

Then,  seized  by  the  Royal  Doctors,  he 
partook  of  bitter  pills  as  they  hovered 
over  him  with  saw  and  knife  while  the 
Royal  Dentist  attempted  to  extract  a 


tooth  with  a  rubber  chisel  and  mallet. 
Next  taken  in  charge  by  the  Royal  Bar- 
ber, we  find  the  victim  pinioned  in  a 
chair,  and  while  a  lock  or  two  of  hair 
is  snipped  with  a  huge  pair  of  .scissors 
an  assistant  brushes  the  helpless  fel- 
low's face  with  an  odorous  composition 
of  water,  flour  and  blacking,  quickly 
transforming  his  complexion. 

A  flip  of  a  lever  tilts  the  chair  back- 
ward toward  the  water  in  the  tank  and 
the  luckless  one  flies  hef^ls  over  head  into 
its  depth  to  become  the  victim  of  the 
Bears,  who  duck  and  torment  him  in  his 
eflPorts  to  escape. 

Finally  climbing  out  he  is  assisted  by 
other  Shellbacks  with  the  aid  of  padded 
clubs  into  a  canvas  tunnel  and  is  forced 
to  crawl  through  a  mess  of  garbage  and 
broken  eggs  to  emerge  into  the  open  air 
to  find  that  he  is  now  a  qualified  Shell- 
back and  immune  to  further  punishment. 

A  large  Neptune  certificate  with  a 
facsimile  of  President  Roosevelt's  sig- 
nature as  senior  Pollywog  was  presented 
at  a  later  date  to  be  safely  guarded  for 
future  crossing  of  the  equator  as  a 
guarantee  against  further  hazing.  Thus 
ended  this  interesting  sequence  of  an 
age-old  tradition  of  the  sea. 

Colorful  Scene 

The  next  scenes  bring  to  view  our 
entry  into  the  harbor  at  Rio  de  Janeiro, 
Brazil.  A  huge  crowd  was  on  the  docks 
to  welcome  the  ships  as  they  slowly 
eased  into  their  berths.  A  flag-waving 
ceremony  was  in  progress  conducted  by 
school  children,  and  a  large  band  sup- 
plied rhythmic  music. 

Ashore  we  found  a  battalion  of 
soldiers  resplendent  in  red,  blue  and  gold 


tunics,  white  trousers  and  cockaded  hats, 
while  a  close-up  of  their  feet  revealed 
that  white  spats  were  an  innovation  not 
heretofore  seen  in  the  military.  Various 
pictures  were  taken  of  this  unit  as  it 
quick-stepped  up  the  main  street  headed 
by  a  martial  band  and  officers  astride 
pracing  chargers. 

Several  street  scenes  were  secured  to 
be  followed  by  a  long  wait  in  a  crowded 
avenue  for  the  President  to  pass.  Excite- 
ment reigned  as  a  siren  announced  the 
arrival  of  the  procession.  Armored 
motorcycles  with  side  cars  containing 
armed  soldiers  burst  on  the  scene  to  be 
followed  by  the  car  containing  the  Chief 
Executive  and  staff.  However,  the  speed 
was  so  great  that  only  a  few  frames  in 
passing  were  procured,  and  our  disap- 
pointment was  only  tempered  with  the 
hope  that  better  luck  would  be  with  us 
next  time. 

Telephoto  Candid  Shots 

The  next  phase  of  our  journey  con- 
sisted of  underway  scenes  en  route  to 
Uruguay  and  included  the  arrival  of  the 
Argentine  fleet  which  came  to  escort  our 
ships  to  port.  The  Indianapolis  tempo- 
rarily parted  company  with  the  Chester 
to  proceed  to  Buenos  Aires  while  we 
remained  at  Montevideo,  Uruguay. 

Our  arrival  at  the  latter  city  was  re- 
corded with  the  metropolis  vignetted  by 
an  open  port  as  we  slowly  steamed  to- 
ward our  berth.  Many  people  were 
present  to  greet  us  as  we  tied  up.  Dur- 
ing our  stay  I  derived  a  great  deal  of 
pleasure  in  taking  candid  telephoto  shots 
of  the  citizens  as  they  inspected  the 
exterior  of  the  ship  while  I  remained 
hidden  within  the  interior  as  I  filmed 
through  an  open  port  hole. 

Many  local  scenes  were  taken  and 
upon  the  return  of  the  other  vessel  we 
departed  the  harbor  with  thousands  of 
people  on  hand  to  speed  us  on  our  way. 

More  sea  views  were  taken  on  the  re- 
turn passage  to  Trinidad  and  several 
ships'  activities  were  included  to  be  fol- 
lowed by  our  arrival  at  Port  of  Spain. 
Local  shots  were  taken  of  the  inhabit- 
ants to  be  followed  by  a  parade  in  which 
President  Roosevelt  took  part.  This  time 
I  secured  a  vantage  place  on  the  balcony 
of  a  corner  building  and  procured  ample 
footage  of  the  President  as  his  carriage 
slowly  moved  in  my  direction. 

The  recording  of  our  return  to  the 
ship  was  soon  followed  by  our  departure 
for  Charleston.  Ocean  scenes  taken  en 
route  faded  into  our  arrival  shortly  after 
which  the  President  parted  company 
with  his  ship.  Then  out  to  sea,  this 
time  headed  for  Panama,  Long  Beach 
and  home. 

The  transit  of  the  canal  was  recorded 
with  telling  shots  of  the  procedure  as 
we  slowly  moved  from  the  Atlantic  to 
the  Pacific.  Many  views  were  taken  of 
passing  ships,  dense  jungle  growths 
along  the  channel,  hydraulic  and  dredg- 
ing operations  and  waterfalls. 

A  visit  of  short  duration  to  Panama 
City  permitted  me  to  shoot  waterfront 

(Continued  on  Page  396) 


Here  is  shown  a  camera  crew  seeking  to  locate  an  expensive  camera  tumbled  frora 
a  raft  in  the  rough  water  near  Cave  Falls,  Idaho,  during  the  making  of  MGM's 
"Northv>est  Passage."  Roger  Mace  is  on  the  pole.  He  is  equipped  with  earphones 
as  are  also  a  crew  working  with  a  field  intensity  instrument.  Later  the  crew  wili 
discover  the  location  of  the  camera  through  the  peculiar  metallic  note  throum  oat 
when  the  pole  cornea  in  contact  with  it.  The  photo  was  taken  by  A.  B.  Hager, 
manager  of  the  Rex  Theatre,  Idalio  Falls,  Idaho. 


September,  1938    •    American  Cinematographer  385 


Canadians  Pack  Sports  Arena  to 
See  Duncan  Little's  Film  of  Race 

By  DUNCAN  MacD.  LITTLE 


You  may  be  interested  in  this  en- 
largement of  a  Brownie  time-ex- 
posure showing  the  "theatre"  in 
which  I  was  called  upon  to  give  a  show 
on  the  evening  of  July  30,  at  Shawinigan 
Falls,  Quebec,  writes  Duncan  MacD. 
Little,  in  a  personal  letter  we'll  take  the 
liberty  of  printing. 

The  camera  used  was  a  Brownie  which 
cost  my  friend  Tom  Andrews  either  §1.69 
or  $1.89  many  years  ago,  and  which  has 
been  doing  good  service  ever  since  in  all 
parts  of  the  globe  except  Australia. 

The  film  projected  was  "Voyageur's 
Trail,"  to  which  the  Cinematographer 
awarded  honorable  mention  last  year, 
and  which,  in  the  valley  of  the  St. 
Maurice,  as  perhaps  you  may  believe,  is 
considered  as  being  practically  the  most 
important  picture  ever  made. 

This  building,  which  is  the  new  sports 
arena,  is  approximately  the  size  of 
Madison  Square  Garden  without  the  gal- 
leries. Each  block  of  seats  on  either  side 
accommodates  about  one  hundred  and 
eighty  or  two  hundred  persons,  and  be- 
hind where  the  camera  stood  are  seats 
for  some  eight  hundred  moi-e. 

The  projector  was  set  on  the  balcony 
in  front  of  those  seats  (there  is  not  a 
similar  balcony  in  the  back  of  the  arena), 
and  the  "throw"  was  about  one  hundred 
and  seventeen  or  eighteen  feet,  the  screen 
being  22  by  16  feet,  and  a  perfect  picture 
was  projected. 

The  entire  floor  area  to  within  ten 
feet  of  the  screen  was  jammed,  there 
being  1250  chairs,  and  as  many  persons 
standing  as  could  be  accommodated.  In 
addition,  boys,  and  even  men,  had  climbed 
into  the  rafters,  and  according  to  the 
newspapers  more  than  a  thousand  were 
turned  away. 

The  screen  would  shock  any  projec- 
tionist, amateur  or  professional,  for  it 
consisted  of  a  rough  framework  of 
boards,  on  which  was  laced  the  mat  from 
the  boxing  ring,  and  that  was  covered 
with  cheap  muslin  that  cost  ten  cents  a 
yard. 

Crowd  Was  There 

When  I  first  saw  the  building  my 
thought  was  "Good  Night!  What  are 
we  going  to  do?" 

The  next  time  I  saw  it,  the  crowd  was 
there  and  had  been  there  for  almost  an 
hour  waiting  for  us  to  arrive  to  put  the 
show  on.  In  the  meantime  they  had  been 
amusing  the  throng  with  phonograph 
records  through  the  loud  speakers. 

We  set  up  our  apparatus  as  fast  as 
possible,  using  my  own  double  turn-table, 
and  amplifiers  and  speakers,  but  on  ac- 
count of  the  crowd  had  to  place  the 
speakers  alongside  of  the  projector. 

The  picture  as  it  showed  on  the  screen 


was  truly  remarkable,  and  Messrs.  Bell 
and  Howell  would  be  proud  indeed  had 
they  been  present  to  see  what  their  130 
Machine  could  do.  Naturally  we  used  the 
new  1200  watt  lamp. 

In  your  last  book  I  read  that  the  new 
Arc  Light  Projector  had  been  developed 
to  take  care  of  a  required  "throw"  of  one 
hundred  and  twenty-five  feet.  That  didn't 
need  to  be  it.  The  stock  machine.  Model 
130,  is  fully  capable  of  handling  the  job. 
We  used  the  normal  two-inch  lens. 

It  seems  to  me  quite  likely  that  you 
might  wish  to  make  mention  of  this  ex- 
ceptional test  to  which  the  machine  was 
put,  and  if  you  do  I  wish  you  wculd  add 
that  we  were  loaned  the  machine  by  the 
Associated  Screen  News  of  Montreal, 
through  the  courtesy  of  Mr.  Reeve  of 
Bell  and  Howell,  thereby  saving  us  one 
bulky  and  heavy  piece  of  equipment  to 
be  transported  from  New  York  to  St. 
Maurice  Valley. 

While  in  Canada  for  the  canoe  race  I 
put  on  two  other  shows,  both  out-of- 
doors,  using  a  ten  foot  screen. 

One  was  to  an  invited  group  of  about 
one  hundred  and  fifty,  and  the  other 
was  a  decidedly  impromptu  affair,  but 
there  were  present  six  Indians  who  never 
before  had  been  in  civilization.  It  was 
too  bad  that  of  all  the  people  present 
only  one  had  my  knowledge  of  the 
Attakamaegue  language,  for  these  In- 
dians spoke  no  word  of  English  or 
French,  and  their  amazement  and 
wonder  at  seeing  themselves,  for  two  of 


them  were  in  the  picture,  were  tre- 
mendous. 

Let  me  correct  the  above;  one  of  these, 
old  Charlie  K-8-ishish,  who  had  been  in 
the  race  for  the  last  two  years,  had 
learned  two  or  three  words  and  was  able 
to  say  "Me  like." 

And  the  Stills  Are  Still 
With  Us 

(Continued  on  Page  378) 
movie  field  rather  than  a  bare  two  years 
in  that  division  so  clear  are  his  results. 

"Although  our  first  publication  and 
the  colored  motion  pictures  are  both  on 
the  subject  of  the  growth  of  plants  in 
nutrient  solution,  our  league  is  formed 
for  the  dissemination  of  all  the  latest 
developments  in  the  field  of  plant  sci- 
ence," writes  Mr.  Heron.  "To  reveal 
these  astonishing  achievements  unusual 
opportunities  are  aff'orded  the  amateur 
photographer  to  acquaint  the  public  with 
the  progress  of  scientific  culture.  It  is 
the  intention  of  the  league  to  foster  such 
a  program." 

We  shall  have  more  to  say  on  Mr.  Her- 
on's pictures  in  the  next  issue. 

T 

At  the  August  meeting  of  the  Tri-City 
Movie  Club  in  Moline,  111.,  on  the  23d, 
we  are  kindly  informed  by  W.  W.  Bru- 
baker,  Orrin  T.  Stribley  talked  on  "Ex- 
posure," which  was  followed  by  open 
forum.  Miss  Georgia  T.  First  showed 
a  Kimm.  Kodachrome  of  1600  feet  length, 
"Cine  Wanderings  in  Alaska  and  the 
Canadian  Northwest." 

The  Camera  Pictorialists  of  Los  An- 
geles, Fred  Archer  director  and  Larry 
Lewin  secretary,  announce  its  Twenty- 
second  International  Photographic  Salon 
will  be  shown  in  Los  Angeles  Museum, 
January,  1939,  and  in  M.  H.  De  Young 
Museum,  San  Francisco,  during  Febru- 
ary, 1939. 


386     American  Cinbmatographer    •    September,  1938 


How  to  Control  Lighting  Without 
as  IV dl  as  Where  Sun  Is  Barred 


Now  that  the  weatherman  again 
is  giving  us  more  enticing  oppor- 
tunities for  outdoor  filming,  home 
filmers  should  ask  themselves  one  very 
important  question.  Do  we  or  do  we  not 
carry  with  us  what  we  have  learned 
about  cinematic  lighting,  now  that  the 
sun,  rather  than  a  group  of  photofloods, 
supplies  the  illumination? 

It  is  far  too  easy  to  make  the  mis- 
take of  thinking  that  controlled  lighting 
deals  only  with  interior  scenes,  and  to 
take  whatever  lighting  nature  —  and 
chance — offer  when  filming  outdoors. 

If  you  will  study  the  exterior  scenes 
in  any  professional  film  you  will  see 
that  the  studio  cinematographer  never 
does  this.  Of  course,  in  home  films  we 
can  rarely  employ  all  the  extensive 
artifices  the  professional  uses  for  con- 
trolling natural  light.  But  by  selection 
and  reflection  we  can  do  a  vast  deal  to 
improve  the  quality  of  16mm.  and  8mm. 
exterior  scenes. 

Fundamentally,  we  have  a  choice  of 
three  basic  angles  of  simple,  natural 
lighting.  The  first  (F'ig.  1)  is  the  fa- 
miliar flat  front-lighting  prescribed  in 
the  elementary  snapshot-camera  instruc- 
tions. The  sun  behind  the  camera,  shin- 
ing full  into  the  subject's  face. 

Interesting  Variety 

There  are  times,  especially  in  Koda- 
chroming,  when  this  is  desirable.  But 
for  the  most  pleasing  effect  in  black  and 
white,  especially  in  photographing  per- 
sons, this  flat  lighting  is  generally  the 
least  favorable  and  the  least  pleasing. 

Next  we  have  the  far  more  pleasing 
cross  lighting  (Fig.  2).  In  this  the  light 
shines  across  the  subject — either  directly 


By  WILLIAM  STULL,  A.S.C. 


across  or  at  an  angle.  It  gives  a  high- 
light side  and  shadow  side,  conveying 
a  more  natural  relief  to  the  picture,  and, 
in  the  case  of  a  moving  subject,  inter- 
esting variety. 

This  is  probably  the  best  all-around 
simple  exterior  lighting.  Care  must  of 
course  be  taken  to  expose  so  that  the 
shadow  side  receives  ample  exposure  to 
avoid  unnatural,  opaque  shadows. 

Finally  we  have  the  back  lighting 
(Fig.  3),  the  effectiveness  of  which  most 
of  us  have  probably  explored  already  in 
filming  interiors.  In  this  the  sun  is  be- 
hind the  subject  and  produces  an  out- 
lining highlight  along  one  or  both  sides 
of  the  figure,  effectively  separating 
figure  from  background. 

This  is  relatively  difficult,  for  the 
direct  rays  of  the  sun  must  be  shielded 
from  striking  the  glass  surfaces  of  the 
lens  (they  would  produce  flare)  and  the 
exposure  must  be  made  for  the  shadowed 
front  of  the  subject,  which  often  neces- 
sitates overexposure  in  the  more  strongly 
illuminated  background. 

Plywood  3  by  2 — or  3 

As  can  be  seen,  there  are  definite 
limitations  to  what  we  can  do  with  un- 
aided natural  lighting.  But  it  is  possible 
to  use  reflectors  to  redirect  natural  light 
with  almost  as  much  precision  as  we 
would  direct  the  light  of  a  photoflood. 

Reflectors  are  simple  enough  to  build. 
All  that  is  necessary  is  a  reasonably 
large  flat  surface  coated  with  some  ma- 
terial capable  of  reflecting  light. 

A  simple  construction  is  one  using  a 
sheet  of  plywood  perhaps  three  feet  long 
by  two  or  three  wide,  with  a  protective 
frame  like  a  crude  picture  frame  around 


the  edges,  partially  to  protect  the  reflect- 
ing surface.  Such  reflectors  can  advan- 
tageously be  made  double,  with  two  units 
hinged  together  so  that  they  fold  com- 
pactly like  a  book,  but  open  up  to  a 
useful  spread. 

The  reflecting  surfaces  can  be  made 
in  any  of  .several  ways.  For  the  most 
potent  or  "hard"  reflectors,  the  surface 
can  simply  be  covered  smoothly  with 
tinfoil,  aluminum  foil  or  gold  foil.  This 
reflects  a  definitely  strong  beam.  The 
silvered  reflectors  are  best  for  color, 
while  the  gold  are  excellent  for  use  with 
panchromatic  film. 

For  a  more  diffused  reflection,  the  re- 
flecting surface  can  be  simply  sprayed 
with  aluminum  paint.  This  gives  a  soft, 
much  less  intense  light  which  is  more 
pleasing  in  lighting  close  shots  of  faces. 

It  is  a  good  idea  to  make  your  re- 
flectors capable  of  serving  double  duty, 
with  a  "hard"  reflecting  surface  on  the 
front  side  and  a  "soft"  reflector  on  the 
back. 

Since  we  rarely  have  any  too  much 
help  in  amateur  picturemaking,  reflectors 
should  be  made  self-supporting.  The 
simplest  way  to  do  this  is  to  hinge  a 
pointed  stick  to  the  top  of  the  protecting 
frame,  so  that  it  can  serve  as  a  prop. 
This  support  should  be  longer  than  the 
reflector,  so  that  the  reflector  can  be 
used  conveniently  at  any  angle  neces- 
sary, from  an  almost  horizontal  position 
to  one  nearly  vertical. 

A  still  better  idea,  and  one  more  in 
keeping  with  modem  professional  tech- 
nique, is  to  make  an  adjustable,  L-shaped 
hinged  brace,  the  bottom  element  of 
which  is  fitted  with  a  screw  socket  so 
that  the  de\ice  can  be  placed  on  a 
tripod. 

This  will  give  a  reflected  light  from 
a  higher  angle,  striking  the  subject  level, 
or  even  from  above,  and  avoiding  the 
unnatural  effects  of  reflection  from 
beneath. 

But  supposing  we  have  reflectors, 
how  shall  we  use  them  ? 

Chasing  Shadows 

To  put  it  in  a  nutshell,  simply  use 
them  to  illuminate  shadow  areas  which 
might  otherwise  be  a  problem.  This  does 
not  mean  to  eliminate  shadows,  for  the 
interplay  of  highlight  and  shadow  is 
what  lends  attractiveness  to  any  picture. 
But  the  reflected  light  can  equalize  high- 
light and  shadow  illumination  to  bring 
them  within  range  of  the  latitude  of  film 
and  processing.  This  is  especially  vital  in 
color. 

The  most  obvious,  of  course,  is  a  use 


Figure  1  Figure  2 


September,  1938    •    American  Cinematographer  387 


such  as  shown  in  Fig.  4,  where  a  re- 
flector lightens  up  the  shadow  side  of  a 
back  lighting.  (For  purposes  of  illustra- 
tion, this  was  done  with  a  "hard"  re- 
flector, which  is  really  too  intense  for 
the  best  effect,  as  it  is  too  obvious.) 

The  contrast  in  the  photographic  value 
of  the  face  in  this  and  in  Fig.  3  will  be 
at  once  apparent.  Notice,  too,  the  effect 
this  has  in  equalizing  the  exposure  values 
of  subject  and  background. 

Of  course  the  same  idea  will  work  just 
as  well  in  lightening  the  shadowed  side 
of  a  cross-lighting,  as  in  Fig.  5.  Again, 
the  aim  should  be  to  lighten  the  shadow, 
rather  than  to  eliminate  it. 

But  there  are  infinitely  greater  possi- 
bilities to  reflection  than  these  simple 
ones.  F'or  instance,  even  with  one  re- 
flector the  angle  of  reflection  can  be 
varied  to  provide  outlining  highlights — 
even  backlights,  wherever  desirable,  with 
almost  the  same  freedom  we  would  have 


Figure  5 


with  photoflood  units  indoors.  Properly 
placed  reflectors  can  reach  under  the 
ordinarily  heavy  shadows  cast  by  hat- 
brims,  and  also  eliminate  the  shadow 
pools  hiding  overly  deep-set  or  small 
eyes. 

If  we  have  two  or  more  reflectors,  we 
have  yet  greater  possibilities.  For  in- 
stance, in  a  backlit  scene,  we  can  use  a 
hard  reflector  on  one  side  and  a  soft  one 
on  the  other  to  produce  the  same  sort  of 
modulated  interplay  of  highlight  and 
shadow  we  would  get  in  a  cross  light- 
ing, plus  the  outlining  rim  characteristic 
of  the  backlight. 

Bending  Sunlight 

Finally,  it  is  often  a  valuable  ace  in 
the  hole  to  remember  that  light  cannot 
only  be  reflected  but  rereflected  as  well. 
Using  a  series  of  reflectors  we  can — as 
the  professionals  often  have  to  do — bend 
sunlight  around  several  corners  to  reach 
finally  into  spots  no  simple  reflection 
could  reach. 

Simply  set  a  "hard"  reflector  in  the 
direct  sunlight,  and  reflect  its  beam  on 
to  another  reflector — either  "hard"  or 
"soft"  as  the  occasion  demands — from 
where  the  light  can  be  rereflected  on  to 
the  subject.  This  technique  easily  can 
provide  us  with  front  light,  cross  light 


or  back  light  when  working  in  deep 
shadows,  on  porches  or  the  like. 

Above  all,  do  not  forget  that  light  can 
be  reflected  obliquely  from  a  reflector — 
especially  a  "hard"  one — with  the  result 
that  the  reflector  can  often  be  used 
either  beside  the  subject,  or  behind  it, 
without  either  being  in  the  picture  or 
throwing  its  rays,  as  might  at  first  be 
feared,  into  the  lens. 

The  real  secret  of  using  reflectors  can- 
not be   described;   it  must  be  experi- 


THE  Stith-Noble  Corporation,  pio- 
neer in  the  field  of  duping  Koda- 
chrome  films,  has  made  what  it 
believes  to  be  a  distinct  advance  in  the 
difficult  task  of  matching  photographic- 
ally the  original  in  color  film. 

Richard  Stith  of  the  company,  who 
during  the  month  showed  the  duplicate 
of  a  short  subject  photographed  by 
Hugh  Coburn  of  the  staff  of  Western 
Air  Express,  insisted  that  while  the  un- 
usually brilliant  16mm.  picture  he  had 
just  put  on  the  screen  was  not  the  last 
word,  nevertheless  he  was  satisfied  those 
expert  in  the  particular  field  of  recap- 
turing the  notable  features  of  reversal 
film  readily  would  concede  the  duplicate 
constituted  a  distinct  advance. 

The  subject  was  a  bit  of  travelogue 
exposed  in  Glacier  National  Park.  There 
were  snow-patched  mountains,  tumbling 
streams  and  the  brilliant  cloud-flecked 
skies  that  reflect  altitude.  The  white  of 
the  rapids  and  of  the  snow  really  were 
white.  The  sky  really  was  blue.  In 
sharp  contrast  with  the  latter  was  the 
light  shade  of  blue  that  marked  a  part 
of  the  holiday  garb  of  one  of  the  troup 
of  dancing  Indians. 

Another  notable  sequence  in  the  sub- 
ject was  the  gathering  of  tourists  with 
a  wide  range  of  color  in  costume. 


enced.  And  actual  use  will  prove  that 
using  reflectors  is  quickly  and  easily 
learned,  and  better,  that  the  results  of 
using  this  simple  tool  can  add  immeas- 
urably to  the  visual  effectiveness  of 
anybody's  films. 

They  are  a  tremendous  help  in  ordi- 
nary black  and  white  filming,  but  their 
greatest  value  is  perhaps  in  color,  where 
the  aid  of  reflected  light  can  go  very  far 
to  expanding  the  inherently  narrower 
latitude  of  all  color  processes. 


Stith  explained  the  screened  quality 
was  no  accident  but  rather  the  result  of 
much  experiment  and  research  on  the 
part  of  the  company. 

"Distinctly  what  we  have  is  not  the 
end  of  our  journey,  but  we  feel  confldent 
it  does  constitute  a  milestone,"  he  added. 
"And  you  know  faithfully  matching 
Kodachrome  in  16mm.  is  one  of  the 
really  tough  jobs  in  this  business  of 
ours."  Asked  as  to  the  quality  of  the 
original  from  which  he  worked  he  de- 
clared: "Beautiful." 

"Skyways  to  Nation's  Playgrounds," 
a  half  hour  show  in  16mm.  color  and 
sound  which  Western  Air  Express  has 
completed,  is  now  ready  for  exhibition 
by  any  approved  organization. 


Calls  for  More  Films 

The  Czechoslovakia  film  advisory  com- 
mittee, which  is  attached  to  the  Ministry 
of  Commerce,  approved  the  entry  into 
Czechoslovakia  of  fourteen  feature  films 
of  United  States  origin  dui'ing  May, 
1938,  compared  with  only  four  during 
May  of  last  year,  according  to  a  report 
to  the  Department  of  Commerce  from 
the  office  of  the  American  Commercial 
Attache  at  Prague. 


Figure  3  Figure  4 


Stith-Noble  Scores  Advance  in 
Matching  Quality  in  Kodachrome 


388     American  Cinematographer    •    September,  1938 


Two  Manufacturers  Suggest  Still 
Cameras  as  Auxiliaries  to  Movies 


COMBINING  the  use  of  still  cam- 
eras with  motion  picture  cameras 
is  a  subject  receiving  more  aiui 
more  attention  from  manufacturers  of 
the  latter  as  well  as  from  those  compa- 
nies which  have  made  still  cameras  from 
the  first. 

Last  month  we  received  a  letter  from 
the  editorial  service  bureau  of  the  East- 
man Kodak  Company  which  indicated 
how  that  company  was  planning  alons^ 
new  lines. 

"Nearly  all  inoviemakers  feel  the  need 
of  a  moderately  priced  auxiliary  still 
camera,"  suggested  the  writer.  "The 
uses  for  such  cameras  are  innumerable, 
limited  only  by  the  filmer's  ingenuity  and 
range. 

"Ideally,  the  auxiliary  camera  should 
be  small,  compact,  equipped  with  a  rea- 
sonably fast  lens,  and  suitable  for  Koda- 
chrome.  This  obviously  restricts  such  -i 
camera  to  two  sizes — those  using  35mm. 
film  and  the  slightly  larger  828. 

"To  meet  these  requirements  the  East- 
man Kodak  Company  has  just  announced 
two  new  Kodak  Bantams,  with  color- 
corrected  lenses  of  suitable  speed — Kodak 
Bantam  f.5.6  and  Kodak  Bantam  f.4.5. 

Auxiliary  File 

"An  added  advantage  to  the  movie- 
maker, who  will  make  relatively  fewer 
stills,  is  that  these  models  use  eight - 
exposure  rolls  in  the  828  miniature  size 
instead  of  eighteen-exposure  magazines. 
This  feature  makes  it  easy  to  complete 


a  Kodachrome  roll  in  one  filming  session, 
and  send  it  in  for  immediate  processing, 
all  of  which  is  desirable. 

"Simplest  use  of  the  auxiliary  is  to 
build  up  a  file  of  prints  or  color  slide.s 
as  an  accompaniment  to  the  movie  rec- 
ord. Such  a  file  is  convenient,  in  that 
pictures  can  be  viewed  at  any  time  with- 
out the  need  of  setting  up  screen  and 
projector.  But  even  more  important  is 
the  camera's  function  in  actually  help- 
ing to  improve  one's  motion  reels. 

"A  still  camera  can  be  made  to  give 
yecman  service  in  the  matter  of  collect- 
ing title  backgrounds  'on  location'  at  the 
same  time  the  movie  is  being  filmed. 
Prints  from  the  still  negatives,  proper- 
ly enlarged  and  cropped,  can  be  lettered 
or  used  in  the  titler  behind  changeable 
lettering,  to  provide  backgrounds  that 
tie  directly  into  the  ensuing  motion  scene. 

Background  Use 

"Kodachrome  stills  serve  in  the  same 
fashion  —  providing  not  only  a  source 
from  which  black-and-white  negatives 
may  be  made  for  producing  background 
prints,  but  also  easily  viewed  color 
guides  for  tinting  the  background  en- 
largements. 

"In  certain  cases,  when  light  is  too 
poor  for  your  movie  lens  equipment, 
stills  can  be  made,  and  later  introduced 
into  the  movie  record.  An  example 
would  be  a  night  scene  without  moving 
objects,  so  dimly  lighted  that  a  tim(? 
exposure  might  be  necessary.    This  scene 


Kine  Exakta,  difitribiited  in  sixteen  states  by  Bell  (Did  Howell,  equipped  with 

Zeiss-Tcssar  F/2.8  lens. 


could  be  pictured  with  the  still  camera 
and  a  print  made  for  rephotographing 
in  the  titler — and  thus  incorporate  it  in 
the  movie  reel. 

"Stills  from  the  auxiliary  camera, 
made  up  in  2  x  2-ii)ch  slides,  are  espe- 
cially useful  when  a  slide  projector  is 
available  to  supplement  the  movie  pro- 
jector." 

From  its  Public  Information  Depart- 
ment comes  word  that  the  Bell  and 
Howell  Company,  which  more  than  a 
year  ago  took  over  exclusive  sales  rights 
in  eleven  Western  states  to  the  Exakta 
line  of  still  cameras,  has  been  doing  some 
expanding  in  the  same  direction. 

The  company  has  added  five  more 
states  to  its  list.  Where  the  eleven  re- 
ferred to  are  served  from  the  Hollywood 
office,  the  added  five — North  and  South 
Dakota,  Nebraska,  Kansas  and  Okla- 
homa— are  being  serviced  through  the 
home  office  in  Chicago. 

In  Line  with  Trend 

Thus  a  company  known  since  1907  as 
manufacturer  and  promoter  of  moti;)n 
picture  equipment  exclusively  appears  on 
the  horizon  as  a  new  factor  in  the  "can- 
did camera"  market. 

Questioned  regarding  this  near  revo- 
lutionary activity  in  the  still  camera 
field,  a  Bell  &  Howell  official  stated  the 
company  had  been  experimenting  for 
some  time  in  the  supplemental  use  of 
stills  with  motion  pictures  for  both  per- 
sonal and  educational  purposes. 

It  was  pointed  out  that  whereas  the 
fundamental  characteristic  of  motion  pic- 
tures is  action,  fine  scenic  "stills"  in 
either  black  and  white  or  natural  color 
could  be  taken  "on  location"  and  pro- 
jected as  supplements  to  the  motion 
picture  action. 

In  educational  work,  for  example, 
movie  projection  could  be  stopped  at  a 
certain  point  while  a  still  or  series  of 
stills  were  shown,  permitting  elaboration 
on  some  special  scenic  point  by  the  edu- 
cator. 

In  personal  application  it  was  shown 
that  the  individual  carrying  both  a  mo- 
tion picture  camera  and  still  camera  on 
a  trip  or  vacation  could  concentrate  his 
movies  on  essential  action  scenes,  snap- 
ping supplemental  stills  of  scenic  land- 
scape views  as  they  appeared  worthy  of 
additional  record. 

The  Exakta  line  of  cameras  was  dem- 
onstrated as  offering  an  ideal  choice  for 
such  use.  To  those  wishing  to  take  black 
and  white  or  natural  color  stills  mainly 
for  projection  purposes,  the  Kine  24  by 
36mm.  Exakta,  using  multi-exposure 
35mm.  spools,  is  recommended.  The  V.P. 
4  by  6.5cm.  Exakta  is  recommended  to 
those  desiring  mainly  to  obtain  stills  for 
printed  enlargement. 


September,  1938    •    American  Cinematographer  389 


Eastman  Releases  Three  Minicam 
High  Speed  and  Fine  Grain  Films 

THREE   new  films  for  miniature  Super-X    Panchromic    in    sunlight   and  Daylight  Tungsten 

cameras,  using  35  mm.  and  No.  artificial   light,  with   grain   kept   at   a     Super  XX   80  50 

828   films,   representing  what  is  minimum.  Plus  X   40  24 

believed  by  the  creators  to  be  one  of  the  It  represents,  therefore,  its  maker's     Panatomic  X   32  20 

great    achievements    and    advances    in  belief  to  be  the  finest  film  available  for  Official  Eastman  Statement 
film  manufacturing,  are  announced  by  all    types    of    miniature    photography  ^j^^  following  Eastman  ratings  for  the 
*^w?rlu^"  ^"^^^  Company.  under  difficult  lighting  conditions.  Maxi-  ^^^^^^         ^^^^^^^  ^j^^^^j^  ^^^^^^  ^^.^ 
With  the  ever  mcreasmg  popularity  mum  emulsion  speed      obtamed  by  de-  recommended  for   Super  XX,   Plus  X, 
and  use  of  the  mmiature  camera  East-  veloping  fully  m  the  Kodak  developer  Panatomic  X  film  in  an  official  sup- 
man  film  experts  realized  the  fact  that  D-76.  ,        j.  i  ir    4.          4.  i.  ^ 
J,        ^      .         •  •  .  Tir-^i-    Tr  J  1     o.         -i^-ir  plemental  Lastman  statement: 
films    for    use    m    miniature    cameras  With   Kodak   Super-XX,   camera  en- 
should  be  made  equally  efficient  for  use  thusiasts  can  now  get  clear  detail  shots  WESTON 
by  daylight  and  artificial  light  and  must  of  floor   shows,   boxing   and   wrestling  Daylight  Tungsten 

be  developed  to  a  higher  contrast  than  bouts  in  sport  arenas  and  the  high  spots     Super  XX   80    128*       50  80* 

the  negatives  used  in  the  professional  in  basketball  and  other  flood  lighted  in-     Plus  X   40      64*       24  40* 

motion  picture  field.  door  sports.  Panatomic  X   24      40*        16  24* 

This  resulted  in  the  introduction  of  the  Each  of  these  three  new  Kodak-35mm.  GENERAL  ELECTRIC 

three  new  films  which  are  virtually  "cus-  and  No.  828  films  has  great  exposure  Daylight  Tungsten 

tom    made"    for    use    with    miniature  latitude,  freedom  from  halation  and  a     Super  XX   128  80 

cameras.  balanced  sensitivity  to  light  of  all  colors.     Plus  X    64  40 

Seeking  Consistency  The  purpose  of  the  new  Kodak  films  is     Panatomic  X    40  24 

The  important  characteristics  in  any  1°  ^'^"^  the   miniature  camera  worker  =^The  use  of  these  numbers  will  give 
film  are  not  only  high  speed   and   fine  fi^"?    especially    adapted    to    his    needs  somewhat  less  dense  negatives,  pre- 
grain,  but  exposure  latitude  and  good  ^''7".  *°               ^^^^  possible  ferred  by  many  workers.  Ratings 
quality,  that  is,  the  ability  of  the  film  ^^^^^^^  ^^^"^        equipment.  for  the  General  Electric  Meter  may 
faithfully  to  translate  the  scale  of  light  ni  •  i,            c         i  '^^  increased  proportionately, 
and  tone  values  existing  in  the  subject  ^""^^  bupport  «The  values  in  the  left-hand  columns 
into  monochromatic  values  in  the  print.  In  order  to  reduce  the  effects  of  hala-  do    not    represent    the    least  exposure 
Another  factor  of  importance  to  the  tion  to  negligible  proportions,  the  films  which  will  give  the  best  possible  prints," 
photographer  is  the  uniformity  of  the  are  coated  on  a  support  which  is  of  a  explains  the  statement.  "They  include  a 
product  so  that  consistently  good  results  bluish-gray    color.     Although    the    de-  safety  factor  to  take  care  of  variations 
may  be  expected.  veloped    negatives    retain    this    color,  in  the  use  of  the  exposure  meters  and 
This  has  been  accomplished  in  these  there  is  no  necessity  for  increasing  nor-  in  the  handling  of  the  photographic  ma- 
new  films.  mal  printing  exposure  times.  terials.    On  the  average  the  exposure 
They  are  Kodak  Plus-X  Panchromatic  The  new  films  are  fully  panchromatic.  called  for  by  these  numbers  is  more  than 
film,  which  has  about  twice  the  speed  They  have  a  very  high  sensitivity  to  red  twice  that  actually  required  for  the  best 
of  Kodak  Panatomic  and  about  50  per  light,  and  in  addition  they  have  been  possible  prints,  but  decreasing  the  ex- 
cent   faster   in    sunlight   and    artificial  especially  sensitized  for  the  green.  They  posure  by  that  amount  is  not  recom- 
light  than  Kodak  35-mm.  Super  Sensi-  do  not,  therefore,  give  overcorrection  to  mended  unless  the  operator  is  thoroughly 
tive  panchromatic  film.    It  is  also  some-  red  objects,  such   as  cheeks  and   lips,  familiar  with  the  characteristics  of  his 
what  finer  grained    than    the    regular  which  is  characteristic  of  films  which  exposure  meter  and  of  ordinary  dark- 
Kodak  Panatomic.    This  film  is  recom-  have  their  main  sensitivity  in  the  red.  foom  practice.  The  numbers  with  aster- 
mended  for  general  use    in    miniature  Exposure  latitude  is  another  impor-  isks  represent  a  safe  decrease  in  ex- 
cameras  tant  factor  in  film.   In  order  to  be  able  posure  under  these  conditions. 

Panatomic-X,   a    film    of   ultra   fine-  to  get  prints  of  good  quality  it  is  im-  "Under   adverse    lighting  conditions 

grain  for  enlargements  of  great  magni-  perative   that   negatives   should   record  passable  prints  can  generally  be  obtained 

fication.    This  film  possesses  even  finer  the  whole  range  of  tones  likely  to  be  en-  from    negatives    given    one-eighth  the 

grain  than  the  fine  grain  that  has  made  countered   in  outdoor  and   indoor  sub-  recommended  exposure.  On  the  average, 

the  original  Kodak  Panatomic  film  so  Jects.    The  three  new  Kodak  films  are  however,  excellent  prints  will  not  be  ob- 

popular  with  users  of  miniature  cameras.  especially  prepared  with  this  in  mind.  tained  from  negative  exposures  made  at 

The  films  are  coated  to  insure  proper  a  meter  rating  of  more  than  twice  that 
Graininess  at  Minimum  recording  of  shadows  and  the   middle  indicated,  which  for  Super  XX  and  the 
Panatomic-X  has  the  same  speed  as  ^^^^^             ^i^e  gradation  in  the  dense  Weston  Meter  would  be  160.    To  make 
Panatomic.    The  fineness  of  gram,  how-  highlights  when  exposure  is  full.    Even  sure  that  every  negative  receives  enough 
ever  IS  equal  to  that  which  was  former-  exposure   exceeds  the   normal   level  exposure  to  yield  the  best  possible  print, 
ly  obtained  on  y  by  the  use  of  special  ^     ^  ^j^j^  ^^rgin,  negatives  of  good  a  Weston  rating  of  80  is  recommended, 
fine  gram  developers,  which  reduced  the  pointing  quality  will  result  "Of  course  there  must  necessarily  be 
effective  speed  of  the  film.  '  a  good   deal   of   latitude  to  any  such 
Graininess   is,  in   fact,   so   low   that  Weston  and  Eastman  Ratings  recommendations  to  take  care  of  indi- 
with  the  new  film  enlargements  can  be  It    is    possible    to    overexpose    these  vidual  diff"erences  both  in  equipment  and 
made  of  a  size  which  will  enhaust  the  new  Kodak   films  to  the  extent  of  a  in  its  use.    There  are  both  meter  and 
sharpness  of  images  before  graininess  hundred  times  the  minimum   exposure  shutter  variations  to  be  considered  as 
is  visible.  necessary  to  provide  a  reasonably  good  well  as  the  use  of  the  meter.  The  type 
Kodak   Super-XX   Panchromatic   film  print.     Of   course,    such    overexposure  of  developer  and  the  extent  of  develop- 
is  the  fastest  Kodak  film  ever  supplied  should  always  be  avoided  if  the  finest  ment   are   also   factors.     It   is  highly 
the  miniature  camera  user.    It  has  about  grain  is  required.  recommended,   therefore,    that  the  ad- 
four  times  the  speed  of  Kodak  Panatomic  Official   Weston  rating  on   the  three  vanced  amateur  conduct  a  few  experi- 
and  more  than  twice  the  speed  of  Kodak  films  is  as  follows:  ments  based  on  the  above  suggestions." 


390     American  Cinbmatographer    •    September,  1938 

Study  Your  Cine  Titler  and  Note 
V ariety  of  Close-Ups  It  Reveals 

When  Adaptability  of  Common  Everyday  Device  Is 
Known  Then  Will  Mechanical  Gears,  Timepieces, 
Flowers,  Insects  and  Even  the  Black  Widow 
Be  Recorded  for  Friends'  Entertainment 


MOST  amateur  cine-shooters  own 
a  small  metal  titler  that  is  used 
now  and  then  to  simplify  title 
problems.  When  it  has  been  used  for 
that  purpose  it  is  generally  placed  away 
with  the  rest  of  the  gadgets  to  be  for- 
gotten until  another  title  problem  pre- 
sents itself  without  a  single  thought 
being  given  to  the  other  potentialities 
the  contraption  may  possess  —  that 
mainly  because  many  are  unaware  of 
the  other  uses  to  which  this  simple 
device  may  be  put. 

A  large  proportion  of  the  movie  cam- 
eras in  use  employ  as  standard  the  fixed 
focus  lens  which  limits  close  views  to  a 
distance  of  several  feet,  while  the  ma- 
jority of  those  with  focusing  mounts 
permits  the  lens  to  be  set  to  a  nearness 
of  two  feet. 

It  is  thus  easy  to  visualize  that  with- 
out auxiliary  aid  close-ups  are  limited 
to  objects  of  fair  size.  Your  lens  lim- 
itations now  afford  the  opportunity  for 
your  titler  to  prove  its  versatility. 

It  is  common  knowledge  that  a  titler 
is  merely  the  means  to  center  and  focus 
your  camera  lens  on  a  given  field  sev- 
eral inches  away  which  is  made  possible 
through  the  aid  of  a  supplementary 
lens  affixed  in  a  standard  at  the  correct 
distance  from  the  title  holder  or  easel. 

An  examination  of  my  title  mask  re- 
vealed that  I  could  film  an  area  approxi- 
mately 1"%  by  2%  inches.  Just  cogitate 
awhile  on  the  smallness  of  this  space 
and  in  that  connection  on  the  possibili- 
ties for  creating  extra  close-ups  of 
various  diminutive  bodies  with  the  aid 
of  your  titler. 

Give  It  a  Whirl 

Then — give  it  a  try.  You  will  be 
astonished  at  some  of  the  exceptionally 
striking  results  achieved.  A  variety  of 
hitherto  unthought-of  subjects  will  be- 
come part  of  your  future  cinematic 
efforts.  To  list  a  few,  mechanical  gears, 
time  pieces,  flowers  and  insects  can  be 
recorded  on  shimmering  celluloid  ribbon 
with  a  modicum  of  trouble. 

To  begin,  secure  your  camera  to  the 
titler  in  all  respects  in  accordance  with 
instructions  for  titling.  Then  finding  a 
suitable  picture  medium  judge  your 
light  for  exposure  as  usual  and  set  the 
diaphragm  accordingly. 


By  ROBERT  W.  TEOREY 

Your  next  step  is  carefully  to  center 
your  subject  within  the  borders  of  the 
title  holder.  This  is  very  essential,  as 
the  picture  area  is  small  and  the  depth 
of  focus  limited  to  a  very  short  distance 
in  front  of  and  behind  the  easel.  The 
focal  depth  varies  according  to  the  size 
of  the  aperture  and  for  that  reason  it 
is  advisable  to  shoot  only  when  the 
lighting  permits  the  smaller  openings  to 
be  used. 

Far  from  detracting  from  your  pic- 
ture, the  shallow  focal  depth  has  the 
advantage  of  separating  your  subject 
from  the  background,  and  imparting  to 
your  shots  the  unusual  depth  often  seen 
on  the  professional  screen  and  so  sel- 
dom on  the  amateur. 

Holding  and  operating  this  combina- 
tion in  your  hands  will  be  slightly  awk- 
ward at  first,  but  as  the  view  finder  is 
not  used  it  will  take  but  a  very  short 
time  for  you  to  become  accustomed  to  it. 

Just  Around  Corner 

The  adaptability  of  my  titler  to  other 
expedients  received  my  earnest  consid- 
eration about  two  years  ago  when  I 
invested  in  my  first  roll  of  color  film. 
I  had  the  urge  to  learn  about  color  by 
shooting  the  unusual  and  wracked  my 
brain  for  an  inspiration  that  failed  to 
materialize. 

Finally  Mrs.  Teorey  suggested  that  I 
might  discover  the  extraordinary  in  an 
adjacent  vacant  lot  which  was  over- 
grown with  shrubs,  weeds  and  flowers 
with  a  few  tin  cans  scattered  about. 

The  suggestion  was  scorned  until  she 
mentioned  the  insects  that  might  be 
found  so  close  at  hand.  The  notion  so 
intrigued  me  that  I  immediately  sought 
for  some  method  satisfactorily  to  photo- 
graph them.  An  examination  of  my 
titler  quickly  convinced  me  that  my 
problem  was  solved. 

Many  have  thrilled  to  Frank  Buck's 
"Bring  'em  Back  Alive."  I  too  brought 
'em  back  alive  that  day,  and  in  addition 
to  getting  some  excellent  shots  I  had 
the  thrill  of  the  hunt  as  well  as  the  irk- 
some wait  involved  in  shooting  my 
quarry  in  its  natural  state. 

Wasps,  bees,  spiders  and  a  grass- 
hopper were  recorded  in  color  as  well 
as  the  lowly  garden  snail,  which  estab- 
lished   itself   as    being   an  interesting 


actor  not  in  the  least  temperamental, 
as  were  the  bees  and  wasps. 

The  most  exasperating  to  shoot  was 
the  wasp.  In  the  rear  of  the  lot  was 
a  castor  bean  tree  that  appeared  to  be 
a  rendezvous  for  wasps  as  they  circled 
about  the  yard.  Observing  closely,  I 
perceived  that  a  specific  leaf  seemed  to 
be  a  favorite  with  them  so  judging  my 
exposure,  I  sat  down  on  a  nearby  rock, 
centered  the  leaf  in  my  titler  easel  and 
commenced  my  wait. 

Patience  Necessity 

To  my  chagrin  the  wasps  selected  an 
adjacent  leaf;  shifting,  I  was  further 
at  least  annoyed  to  find  them  alighting 
on  the  former  again.  I  returned  to  my 
original  position  resolving  that  patience 
was  a  virtue  to  acquire  at  once  and 
finally  I  was  rewarded  with  a  shot  of  a 
very  busy  wasp. 

Bees  were  less  difficult  to  capture  on 
film.  A  patch  of  clover  gave  me  a  per- 
fect setting  and  waiting  in  the  midst  of 
the  blossoms  until  a  honey-searching 
bee  dropped  on  flower  was  just  a  matter 
of  moments. 

A  spider  with  its  symmetrical  web 
strung  on  the  tvngs  of  a  bush  next  in- 
volved me  in  a  filming  task  fraught  with 
the  danger  of  disturbing  him  into  van- 
ishing. It  had  captured  a  small  bug  and 
was  engaged  in  wrapping  it  in  weblike 
substance. 

In  order  not  to  injure  the  silken 
strands  and  frighten  my  camera  prey  I 
finally  had  to  lower  my  titler  easel  and 
judge  the  picture  center  as  closely  as 
possible  without  its  aid.  I  was  quite 
satisfied  with  the  result. 

Grasshoppers  next  became  the  objects 
of  the  hunt.  A  diligent  search  finally 
brought  one  to  view  enjoying  a  meal 
from  the  edge  of  a  tender  leaf.  It  was 
apparently  unmindful  of  the  whirring 
of  my  camera  as  the  film  chased  through 
the  sprockets  during  the  photographic 
recording  of  its  activity. 

Snails  Good  Subjects 

Searching  near  the  roots  of  some 
geraniums  revealed  a  number  of  garden 
snails  reposing  in  the  coolness  of  their 
retreat.  Placing  one  on  a  plant  seemed 
to  be  incentive  enough  for  it  to  emerge 
from  its  shell  protection.    It  would  then 


September,  1938    •    American  Cinematographer  391 


slowly  pull  itself  along  as  it  nibbled  on 
tender  shoots  found  in  its  path. 

Better  composition  was  possible  with 
snails  as  they  weren't  camera-conscious 
and  lacked  the  ability  to  fly  away.  Fur- 
thermore, they  could  be  placed  in  any 
setting  desired. 

I  experienced  a  great  deal  of  pleasure 
in  photographing  this  type  of  life  with 
my  cine  camera  and  titler  and  the  pic- 
tures I  secured  more  than  recompensed 
me  for  the  time  and  patience  entailed 
in  the  hunt  and  filming. 

For  those  who  wish  to  capture  insects 
and  film  them  in  a  setting  of  their  own 
creation  a  shallow  cardboard  box 
slightly  larger  than  the  area  outlined 
by  the  titler  mask  may  be  constructed. 
The  background  in  this  may  be  made  to 
appear  natural  by  covering  it  with 
leaves  and  small  flowers  held  in  place 
by  sewing  with  needle  and  thread. 

The  camera  side  should  be  closed  with 
a  piece  of  clear  celluloid  or  glass,  and 
when  shooting  care  should  be  taken  to 
prohibit  light  reflections  therefrom  into 
the  camera  lens.  A  cardboard  fin  glued 
to  each  end  will  permit  the  receptacle 
to  be  fitted  to  the  easel  of  the  titler  by 
means  of  the  spring  back  on  the  device. 
The  tiny  stage  may  then  be  centered 
with  the  aid  of  the  regular  title  mask. 

Opportunities  Open  Up 

I  used  a  similar  expedient  in  filming 
the  action  of  a  black  widow  spider, 
using  a  photoflood  bulb  as  my  light 
source.  The  only  drawback  to  me  in 
filming  this  particular  denizen  was  in 
being  shunned  by  Mrs.  Teorey,  who  la- 
bored under  the  misapprehension  that 
black  widows  were  to  be  found  in  my 
pockets.  However,  the  shots  were  very 
satisfactory. 

Beautiful  views  of  flowers  may  be 
made  much  in  the  same  manner  re- 
quired in  shooting  insects  in  the  open. 
Unlike  the  latter,  the  task  is  exceed- 
ingly simple  and  requires  only  correct 
lighting  and  centering  within  the  title 
holder. 

Scenario  stories  often  require  the 
hour  of  day  to  be  established.  Your 
titler  will  assist  you  in  getting  a  perfect 
close-up  of  your  watch.  Perhaps  your 
story  necessitates  the  efi'ect  of  the  arch 
villain  peering  through  a  keyhole. 

A  slightly  exaggerated  keyhole  cut  in 
dull  black  paper  fitted  into  the  easel 
and  low  key  lighting  will  create  the 
desired  impression  as  the  actor  squints 
through  the  hole  toward  the  lens.  A 
burning  cigarette  might  be  the  clue  as 
to  "who  done  it"  in  your  mystery 
thriller.    The  titler  scores  again. 

Interesting  experiments  can  be  made 
by  those  possessing  telephoto  lens.  Sub- 
stituting for  the  standard  objective  and 
using  my  titler  I  found  that  an  area 
slightly  more  than  half  an  inch  in  width 
could  be  filmed.  A  shot  of  the  move- 
ment of  my  wrist  watch  produced  ab- 
sorbing action  of  the  balance  wheel  in 
motion,  while  another  of  the  dial  flashed 
a  view  of  the  second  hand  making  the 
rounds. 

This  lens  and  titler  combination 
should  work  excellently  in  taking  pic- 
tures of  ants  and  other  minute  life  or 


objects.  Additional  ultra  close-ups  are 
limited  only  to  the  amount  of  exercise 
you  wish  to  give  your  imagination. 

In  summing  up,  the  attempt  here  pri- 
marily is  to  illustrate  methods  of  using 
a  piece  of  equipment  very  likely  in  your 


IN  Eastman  Kodak  Company's  "How 
to  Make  Good  Movies"  there's  a 
new  book  which  should  be  wel- 
comed by  every  amateur  movie  maker 
whether  he  is  young  or  old  in  experience. 

Two  hundred  and  thirty  pages  are 
packed  full  of  information  which  does 
not  befuddle  the  reader  with  a  maze  of 
technical  terms,  pie  charts,  diagrams 
and  other  such  brain  twisters.  It's  writ- 
ten for  the  tyro,  or  his  more  advanced 
neighbor,  who  wouldn't  give  two  hoots 
to  know  how  film  is  made,  how  it  is 
processed — or  even  why — but  has  yearned 
for  helpful  ideas  on  taking  and  show- 
ing trouble-free  home  movies. 

"How  to  Make  Good  Movies"  is  writ- 
ten in  a  simple,  down-on-earth  manner 
and  for  one  purpose — ^to  help  the  thou- 
sands of  amateur  home  movie  fans 
make  the  kind  of  movies  they  have  per- 
haps visualized  but  haven't  known  just 
how  to  go  about  getting. 

The  book  isn't  a  sermon.  It  isn't  filled 
with  pages  of  "Thou  shalt  nots,"  but  it 
does  tell  of  a  thousand  and  one  things 
you  can  do  with  your  movie  camera 
whether  it  is  8  mm.  or  16  mm. 

What  It  Has 

The  book  is  generously  illustrated  with 
enlargements  made  from  the  films  of 
amateur  movie  makers,  along  vnth. 
others  which  may  be  made  by  mother, 
father,  junior  or  sister. 

Just  a  brief  idea  of  what  you  will  find 
in  the  book: 

Focusing  is  briefly  yet  amply  cared 
for,  while  exposure  is  dealt  with  from 
A  to  Z.  After  reading  this  chapter  you 
probably  won't  need  it,  but  for  good 
measure  and  additional  aid  pocket  size 
exposure  guides — one  for  regular  day- 
light Kodachrome  and  one  for  Type  A, 
for  artificial  light,  are  packed  with  each 
book. 

In  the  language  of  the  amateur,  film, 
filters  and  lenses  are  thoroughly  ex- 
plained, the  latter  excellently  illustrated 
with  movie  shots  made  with  the  several 
accessory  lenses  discussed. 

Composition,  the  bugbear  of  many 
amateurs,  is  effectively  but  simply 
handled  and  should  prove  to  be  very 
helpful  to  the  amateur  who  is  really 
interested  in  improving  his  movies  to  the 
point  where  his  friends  will  say,  "Gosh, 
that's  a  swell  shot." 

Tells  of  Playmaking 

Then,  there's  a  chapter  on  Koda- 
chrome, illustrated  in  color.  "Movies 
at  Night"  sheds  the  light  of  day  upon 


possession  and  idly  catching  dust  until 
another  title  is  required.  With  the  least 
of  exertion  it  can  materially  add  to  the 
scope  of  your  cinematic  operations  and 
assist  in  bringing  to  the  screen  pictorial 
presentations  rarely  enjoyed. 


nightime  filming — not  only  in  the  home, 
but  out  of  doors  and  in  sports  arenas. 

"Trick  Shots"  goes  the  limit  with  all 
the  many  stunts  which  can  be  accom- 
plished with  the  ordinary  movie  camera. 
"Playmaking"  not  only  tells  you  how  to 
film  little  movie  skits  but  also  gives  sev- 
eral outlines  assuring  easy  filming  and 
enjoyable  showing. 

"Titling,"  an  important  factor  in  add- 
ing interest  to  home  movies,  first  de- 
scribes the  several  ways  to  avoid  making 
unnecessary  word  titles,  then  explains 
how  to  make,  or  have  made,  important 
and  efl'ective  titles.  "Showing  Movies" 
recognizes  and  clarifies  the  need  for  de- 
voting the  same  forethought  to  the 
screening  of  pictures  that  you  give  to 
their  taking. 

These  are  but  a  few  of  the  main  chap- 
ters. There  are  dozens  of  sub-chapters 
ranging  from  the  filming  of  travel 
movies,  demonstration  of  camera  angles 
to  the  making  of  "dolly  shots." 

Considering  its  value  to  amateur  movie 
makers,  "How  to  Make  Good  Movies"  is 
modestly  priced  at  $2.  It  is  now  in  the 
hands  of  dealers. 


Netherlands  Indian  Motion 
Picture  Censorship 

No  American  films  were  rejected  by 
the  Netherlands  Indian  Film  Censorship 
Commission  during  March,  one  being 
banned  in  April,  according  to  a  report 
from  the  office  of  the  American  Trade 
Commissioner  in  Batavia.  The  latter 
was  apparently  rejected  for  alleged  ex- 
cessive violence  and  scenes  featuring 
gangsters.  While  the  film  rejected  was 
of  little  importance,  the  Commission's 
action  shows  a  continuance  of  the  ten- 
dency to  prevent  the  showing  of  the 
old-type  gangster  film,  emphasizing 
criminal  activities  and  without  other 
"redeeming"  factors  in  the  plot. 


Japanese  Theaters  Filled 

According  to  the  Japanese  Department 
of  Home  Affairs,  more  than  300,000,000 
people  in  Japan  saw  motion  pictures  in 
1937,  this  total  setting  a  new  record. 
Tokyo  Prefecture  headed  the  list  with 
an  attendance  of  59,317,122.  Osaka  Pre- 
fecture came  second  with  39,024,224. 

The  rest,  in  order,  are:  Hyogo,  16,501,- 
194;  Fukuoka,  15,203,646;  Kyoto,  14,- 
481,072;  Aichi,  12,986,540;  Okayama, 
10,837,562;  Kanagawa,  9,960,562,  and 
Hiroshima  5,104,827. 


Eastman  Kodak  Issues  230 -Page 
Book  "'How  to  Make  Good  Movies'' 


392     American  Cinbmatographer    •    September,  1938 


American  Cinematographer 

1938  International 
Amateur  Competition 

FOR  8MM  AND  16MM  SUBJECTS 

CLOSES  OCTOBER  31,  1938 

$500  in  Cash  Prizes 

GRAND  PRIZE  $200 

Photography  $50    Home  Movie  $50 

Color    50    Scenic   50 

Scenario   50    Documentary    50 

NO  ENTRANCE  FEE 
ORIGINAL  FILMS  ONLY  —  NO  DUPES 
NO  REDUCTION  FROM  35MM 


THE  RULES 

The  contest  is  world  wide  and  open  only  to  genuine 
8mm  or  16mm  amateurs  oi'  amateur  clubs. 

The  contest  ends  at  midnight  October  31,  1938.  Entries, 
mailed  or  expressed,  later  than  that  time  will  not  be 
eligible. 

Pictures  submitted  will  be  judged  for  photography,  en- 
tertainment and/or  story  value,  direction,  acting,  cut- 
ting and  composition. 

The  decision  of  the  judges,  among  whom  there  will  be 
prominent  cameramen,  will  be  final.  Announcement  of  the 
awards  will  be  made  as  soon  after  the  close  of  the  con- 
test as  possible  and  checks  sent  to  the  winners. 

Pictures  may  be  submitted  either  by  individual  amateur 
movie  makers  or  they  may  be  submitted  by  amateur  movie 
clubs.  Each  entrant  must  have  his  entry  or  entries  ac- 
companied by  a  sworn  statement,  the  blank  for  which  will 
be  forwarded  to  him  to  fill  in. 

Contestants  may  enter  as  many  subjects  as  they  desire. 
One  entry  blank  will  cover  all  subjects. 

The  American  Cinematographer  reserves  the  right  not 
to  declare  a  prize  for  any  classification  if  in  the  opinion 
of  the  judges  there  is  not  a  picture  submitted  sufficiently 
good  to  be  classed  as  a  prize-winner. 

The  American  Cinematographer  retains  the  right  to 
make  duplicates  of  such  prize-winning  pictures  as  it  may 


indicate,  for  free  distribution  to  clubs  and  amateur  organ- 
izations throughout  the  world. 

If  you  intend  to  enter  the  contest,  please  send  coupon 
on  this  page  for  official  entry  blank. 

NOTICE  TO  FOREIGN  ENTRIES 

Films  from  foreign  countries  will  be  admitted  to  the 
United  States  duty  free  if  the  pictures  are  made  on 
American  made  stock.  If  this  is  the  case,  this  fact  must 
be  included  in  the  shipment,  also  the  information  must  be 
given  that  it  is  for  non-commercial  use.  If  the  film  is 
not  exposed  on  American  made  stock  duty  will  have  to  be 
prepaid  by  the  sender  at  the  rate  of  $1  per  hundred  feet. 


AMERICAN  cinematographer 
1782  No.  Orange  Drive 
Hollywocxl,  California 

Please  send  me  one  of  your  official  entry  blanks.  I  intend  to 
enter  a  (16min  8mm)  picture  in  your  1938  contest.  I  understand 
my  entry  must  be  in  your  office  not  later  than  October  31,  1938. 

Name-  

Street  

Address  


September,  1938  • 


American  Cinematographer  393 


Bell  &^  Howell  Introduces  Filmo  8 
Candid  Carrying  Case  for  Speed 


THE  famous  "Let's  go"  sequence  of 
professional  studios  now  can  be 
followed  through  by  the  amateur 
carrying  his  Filmo  8  in  the  new  Bell  & 
Howell  Filmo  8  candid  carrying  case, 
cleverly  designed  with  a  hinged  drop 
cover  which  allows  the  camera  to  go 
into  instant  action  without  removal  from 
the  case. 

Windows  are  provided  in  the  snug-fit- 
ting inner  case  to  make  every  camera 
operating  part  instantly  accessible.  Win- 
dows on  right  side  of  inner  case  expose 


Four  Nations  Planning  to 
Compete  in  Quadruplication 

Motion  picture  producers  in  France, 
Great  Britain,  Germany  and  Italy  plan 
to  make  pictures  in  four  languages  in 
an  endeavor  more  successfully  to  com- 
pete with  American-made  pictures,  ac- 
cording to  a  report  published  in  Chile 
and  reported  to  the  Department  of  Com- 
merce. 

The  article  titled  "motion  picture  war 
declared  between  Europe  and  North 
America"  stated  that  it  was  the  inten- 
tion of  the  "four  powers"  to  endeavor 
to  replace  Hollywood  productions  in  the 
European  markets,  the  report  stated. 

Although  it  is  recognized  that  no  one 
of  the  four  nations  is  in  a  position  to 
compete  with  Hollywood  on  equal  terms, 
the  article  stated  that  concerted  action 
of  their  part  aided  by  the  advantage  of 
having  pictures  made  in  four  languages, 
would  enable  them  to  offer  competition 
to  the  American  producers. 


Bell  &  Howell  Executives 

Get  Together  with  Dealers 

Capping  a  full  week  of  business  meet- 
ings participated  in  by  Bell  &  Howell 
main  office  executives,  Hollywood  and 
New  York  branch  managers,  district 
managers  and  nearly  a  hundred  visual 
education  equipment  dealers,  Bell  & 
Howell  Company  executives,  branch  and 
field  men  relaxed  in  a  get-together  and 
banquet  at  the  Edgewater  Beach  Hotel, 
Friday,  August  19. 

J.  H.  McNabb,  Bell  &  Howell  presi- 
dent, was  master  of  ceremonies.  He 
stated  field  reports  indicated  excellent 
prospects  for  increasing  business  this 
fall. 

The  Bell  &  Howell  business  meetings 
coincided  with  a  week  of  contact  with 
photographic  dealers  from  all  over  the 
nation  who  participated  in  the  National 
Photographic  Dealers'  Association  Con- 
vention held  at  the  Hotel  Stevens  Aug- 
ust 22  to  26. 


the  footage  dial,  speed  control  dial  and 
winding  key.  A  window  in  the  rear 
matches  the  eye  position  of  the  spy- 
glass viewfinder. 

The  left  side  window  reveals  the  ex- 
posure calculator.  With  drop  cover  down 
in  front,  the  viewfinder,  lens  and  start- 
ing button  are  completely  in  the  clear 
for  action  and  use. 

Both  inner  case  and  drop  over  are 
made  throughout  of  double-thickness, 
full-grain  cowhide.  The  color  is  known 
as  Bombay,  a  rich  dark  brown.  The  all- 
linen  thread  stitching  in  goldenrod  color 
creates  a  classy,  decorative  trimming. 
Fastener  and  buckle  attachments  are 
nickel-plated. 


Richtone     Laboratory  Processes 

Kodachrome  Duplicates  in  8mm.  and  16mm. 
Reduction    Printing,    Duplicate  Negatives 
Sound,  Linotype  Titles 

Richter's   Photo   Service  Inc., 

7936  Santa  Monica  Blvd. .Hollywood  HE  555.3 


CAMERAMAN'S 
PERFECT 
EQUIPMENT 


THE 


GOERZ 


KINO-HYPAR  F2.7  15  mm 
WIDE-ANGLE  LENS 
and  the 

KINO-HYPAR  F2.7  75  mm  (3") 
for  LONG-DISTANCE  SHOTS 
and  CLOSE-UPS 

can  now  be  had  as  Standard  Equip- 
ment   with    the    B  O  L  E  X  16mm 
MOVIE  CAMERA.     Other  focal 
lengths  can  also  be  supplied. 
The   distributors   of   the  precision- 
built    BOL£X    camera    made  this 
choice  after  a  thorough  test  of  the 
American-made  GOERZ  LENSES  to 
assure  their  customers  of  the  best 
possible  picture  results. 

Specify  GOERZ  LENS  EQUIP- 
MENT when  purchasing  the 
BOLEX  CAMERA  from  the 
American  Bolex  Company  or 
authorized  Bolex  dealers. 

For    further    lens  information 
address   Dept.  A.C.9 


CP. GOERZ  AMERICAN  OPTICAL  CO. 


New  Filmo  8  candid  carrying  case  in  the 
three  pliases  of  "candid  movie"  action: 

1.  Ready  starting  position,  case  closed. 

2.  Hinged  cover  quickly  itnsnapped  and 
swit7ig  down,  making  camera  ready  for 
action.   3.  Action,  camera  remaining  in 

case. 

Retail  price  of  the  case,  complete  with 
adjustable    shoulder   strap    and  sivivel 
attachment,  is  $0. 


317  E.  34  St. 
American  Lens 


New  York,  N.  Y. 
Makers    Since  1899 


Agfa  17  Developer  Ready 

Agfa  17,  a  developer  well  known  to 
photographers,  is  now  available  in  the 
ten-gallon  size.  A  new  and  related 
product  being  introduced  along  with  the 
new  ten-gallon  size  developer  is  Agfa 
17A  replenisher,  packaged  in  a  five- 
gallon  size. 

Agfa  17  is  a  fine-grain,  soft-working 
borax  type  developer,  popular  with 
photographers.  Although  primarily  in- 
tended as  a  fine-grain  developer,  it  is 
preferred  by  many  for  general  develop- 
ing purposes  and  has  been  found  partic- 
ularly suitable  for  use  with  the  new 
higher  speed  films.  These  preparations 
should  prove  a  convenience  both  to  the 
professional  worker  and  the  amateur 
who  does  a  considerable  amount  of  de- 
veloping. 

The  developer  is  packed  in  dry,  pow- 
dered form  in  metal  cans  containing  two 
separate  compartments.  When  prop- 
erly mixed  with  water  ten  gallons  of  de- 
veloping solution  are  obtained. 

The  replenisher  is  packed  in  a  simi- 
lar manner,  and  after  dissolving  in  water 
is  added  to  the  developer  occasionally  to 
keep  the  tank  at  a  constant  level  and 
maintain  uniform  developing  strength. 


394     American  Cinbjmatoghapher    •    September,  1938 


Reverse  Studio  Lighting 
Methods 

(Continued  from  Pa(/e  368) 
globe  up  to  a  standard  2,000-watt  size. 
They  were  so  mounted  that  they  could  be 
placed  on  the  floor  and  directed  in  any 
direction,  horizontally  or  vertically. 
Similar,  smaller  "pans"  were  built  to 
utilize  tubular  projection-type  globes, 
while  baby  Solarspots  were  also  useful. 

In  this  lighting,  most  of  which  was 
arranged  to  duplicate  the  natural  effects 
with  higher,  more  photogenic  intensities, 
there  was  still  relatively  little  to  stress 
the  effect  of  depth.  Obvious  silhouetting 
of  alternate  planes  could  not  be  used,  for 
the  effect  would  not  be  natural. 

Long,  Low  Ceiling 

To  stress  the  depth,  we  concentrated 
our  lighting  and  wherever  possible  our 
composition  on  the  long,  low  ceiling.  This 
was  light  in  color,  and  we  accentuated  it 
with  a  higher  intensity  of  illumination. 
This  gave  a  natural  pattern  of  high- 
lighted area,  in  essentiallly  straight 
lines  receding  from  the  camera  to  the 
extreme  distance. 

Without  being  obvious  or  unnatural, 
it  gives  a  strong  impression  of  depth. 
In  addition,  this  lighting  pennitted  us 
to  dolly  the  camera  as  freely  as  the 
script  required. 

Working  in  the  Waldorf's  Starlight 
Roof  we  had  a  similar  problem  on  a 
much  greater  scale.  The  room  was 
slightly  under  seventy  feet  wide  by 
nearly  two  hundred  feet  long — a  good- 
sized  area  to  light  even  in  a  studio  set, 
designed  and  built  for  photography! 

When  it  is  not — when  there  is  no  pos- 
sibility of  fixing  lamps  overhead  or  along 
walls,  and  when  all  lamps,  cables  and 
accessories  must  be  placed  on  compo- 
board  so  that  nothing  be  marred — the 
problems  of  lighting  can  be  appreciated. 
That  the  room  is  on  the  eighteenth  floor 
detracts  nothing  from  the  task. 

We  found  our  problem  further  com- 
plicated by  the  limited  working  hours 
possible.  We  had  a  considerable  number 
of  scenes  to  make,  but  we  could  only 
work  at  hours  when  the  place  was  not 
serving  the  public.  Our  working  "day" 
began  after  the  supper  hour  and  had  to 
end  by  mid-morning  so  that  the  room 
could  be  readied  for  luncheon.  In  other 
words  we  could  work  only  from  2:30  or 
3  a.m.  to  10:30. 

Therefore  we  charted  all  our  shots  be- 
forehand with  great  care  and  accurately 
diagrammed  the  position  of  every  lamp. 
Thus  we  could  work  faster  and  more 
effectively  and  if  forced  to  stop  in  the 
middle  of  a  sequence  we  could  return  the 
next  morning  and  set  up  our  lights  with 
perfect  confidence  that  we  were  duplicat- 
ing the  effects  gained  the  previous  night. 

Minus  Backlighting 

Again  it  was  necessary  to  light  en- 
tirely from  the  floor  and,  with  the  excep- 
tion of  a  few  relatively  close  angles,  to 
work  entirely  without  backlighting.  The 
same  general  principles  again  served 
excellently. 


The  Starlight  Roof  is  a  huge  room. 
Along  one  long  wall  and  the  ends  are 
large  windows,  while  the  other  long  wall 
is  coUonnaded. 

Once  again  the  "pan"  lights  proved 
invaluable.  They  could  V)e  concealed  be- 
hind furniture  and  behind  the  columns, 
directing  their  rays  upward.  In  thi.s 
position  they  served  much  the  same  pur- 
pose as  the  overhead  lights  we  would 
ordinarily  play  upon  columns  to  create 
catchlights  and  give  an  illusion  of  round- 
ness. 

The  necessary  little  highlights  flecked 
the  curved  surfaces  of  the  cloumns,  re- 
gardless of  whether  the  light  causing 
them  came  from  above  or  below.  In  the 
same  way,  the  pans  could  be  used  to 
illuminate  the  wall  behind  the  columns, 
much  as  we  use  "sky  pans"  to  illuminate 
studio  backings. 

Wherever  possible,  of  course,  we  used 
Solarspots  and  similar  units  to  project 
light  into  the  room  from  vantage-points 
out  of  camera-range.  Again,  too,  we  had 
the  problem  of  lighting  the  ceiling.  This 
was  done  largely  from  lamps  concealed 
on  the  floor,  and  again  aided  in  sugge.st- 
ing  depth. 

In  several  scenes  here,  as  well  as  on 
other  locations,  we  had  the  interesting 
problem  of  making  day-effect  shots  close 
to  the  windows,  while  working  actually 
in  the  middle  of  the  night.  Even  working 
in  hotel  lobbies  and  other  rooms  on  the 
lower  floors  of  buildings,  this  was  not 
easy. 

Sixty-five  Floors  Up 

The  method  used  was  to  suspend  a 
white  backing  on  poles  outside  the  win- 
dow, and  several  feet  away.  This  back- 
ing was  strongly  illuminated  from  with- 
in the  building  by  powerful  spotlamps 
shining  through  adjacent  windows,  but 
out  of  camera  range.  The  effect  was  a 
successful  day  shot. 

About  the  only  scenes  of  this  nature 
made  actually  in  the  daytime  were  those 
we  made  in  the  Rainbow  Room  at  Radio 
City,  where  we  found  our  only  possible 
chance  to  photograph  was  on  Sunday, 
when  this  exclusive  club  is  not  open.  The 
Rainbow  Room  is  on  the  sixty-fifth  floor, 
ind  is  an  oval-shaped  room  on  three  sides 
of  which  are  large  windows  commanding 
a  view  over  the  city. 

When  the  weather  was  favorable  we 
naturally  took  full  advantage  of  these 
windows  and  the  view  they  framed. 
When  it  was  hazy,  we  took  advantage 
of  the  Venetian  blinds  on  the  windows! 
Our  lighting  in  this  sequence  followed 
the  same  general  methods  as  those  out- 
lined, carefully  duplicating,  in  higher 
intensities,  the  actual  lighting  of  the 
room. 

Adjoining  the  Rainbow  Room  is  a 
cocktail  lounge  which  proved  one  of  the 
most  difficult  lighting  tasks  of  the  trip. 
It  is  of  ultra-modernistic  architectui-e, 
and  as  such  is  a  creation  of  chromium 
plate,  mirrors  and  plateglass  panels. 

One  side  of  the  room  is  entirely  backed 
by  panels  of  mirrors.  The  opposite  side 
is  filled  with  broad  windows,  between 
which    are    glass-inclosed    plants,  and 


separated  by  ceiling-high  panels  of 
plateglass,  two  between  each  window, 
projecting  at  4.5  degree  angles.  The  ceil- 
ing itself  is  completely  paneled  with 
mirrors. 

Reflections  and  R«reflections 

With  the  exception  of  the  floor,  it 
seemed  that  every  inch  not  devoted  to 
plateglass  or  mirror  was  chromium 
plated  metal.  There  is  little  if  any  exag- 
geration in  saying  that  at  every  new 
set-up  the  first  glance  at  the  camera's 
ground  glass  revealed  the  reflections  and 
rereflections  of  five  or  ten  lamps. 

While  the  room  itself  was  lit  by  modi- 
fications of  the  same  schemes  used  on  the 
other  sequences  mentioned,  the  reflection 
problems  were  solved  largly  by  patience 
and  perspiration.  We  are  prone  to  re- 
gard lighting  at  any  time  as  a  highly 
exact  science:  here  was  an  occasion 
when  the  lamps  were  positioned — liter- 
ally— to  the  inch. 

What  reflections  could  not  be  elim- 
inated in  this  manner  we  eliminated  by 
applying  common  Scotch  tape  to  the  re- 
flecting surface.  This  proved  more  effec- 
tive and  more  easily  removed  than  the 
more  common  use  of  putty,  oil-sprays 
and  the  like. 

An  interesting  phase  of  our  problem 
there  in  the  Rainbow  Room  was  the 
fact  that  while  we  were  working  on  the 
sixty-fifth  floor  our  nearest  power  outlet 
was,  if  I  recall  correctly,  on  the  sixtieth 
floor.  Engineer  Bourciet  of  Radio  City 
cooperated  splendidly  with  us,  not  only 
in  providing  power  and  stringing  the 
necessarily  long  power  cables,  but  in 
setting  aside  special  freight  elevators  to 
transport  our  equipment  and  providing 
storage  space  for  it  so  that  we  would  not 
lose  time  by  having  to  bring  it  in  and 
remove  it  from  the  building  during  our 
brief  working  time. 

Will  Extend  Methods 

While  the  methods  outlined  enabled 
us  to  achieve  success  under  unusual  and 
extremely  difficult  circumstances,  I  feel 
that  this  is  only  a  starting  point  for  de- 
velopments which  can  be  of  the  greatest 
value  to  the  industry. 

In  the  future  I  am  confident  these 
methods  can  and  will  be  extended,  both 
by  added  experience  and  by  the  use  of 
the  new  faster  films,  to  make  it  possible 
to  photograph  authentic  interior  scenes 
of  famous  places  on  a  scale  heretofore 
impossible. 

The  dramatic  value  of  such  locales  is 
well  realized.  So,  too,  is  the  problem  of 
duplicating  them  in  sets  which,  to  be 
authentic,  may  be  prohibitively  costly 
or  prohibitively  large,  necessitating  that 
the  story  be  perhaps  weakened  by  the 
necessity  of  substituting  other  locales  or 
even  eliminating  those  scenes  from  the 
script. 

It  seems  to  me  that  this  technique  can 
make  it  possible  to  use  more  of  these 
actual  locales,  not  only  extending  the 
range  of  cinematography  but  helping 
meet  the  demand  for  better  pictures  by 
making  them  more  vigorous  and  more 
convincing. 


Photographic  Honors  Fall 
to  Daniels 

(Continued  from  Page  366) 

ers.  With  the  same  company,  Leo  Mc- 
Carey,  who  recently  directed  "The  Awful 
Truth,"  was  the  prop  boy. 

Together  they  made  brisk  progress. 
On  a  Bert  Roach  comedy  Daniels  re- 
ceived his  first  full-fledged  cameraman 
assignment  and  McCarey  was  made  an 
assistant  director. 

When  a  chance  came  to  go  with  Erich 
Von  Stroheim  Daniels  accepted  a  tem- 
porary demotion,  again  becoming  a  sec- 
ond cameraman  to  gain  experience  on 
more  important  productions.  He  was 
with  Von  Stroheim  for  thirteen  months 
during  the  filming  of  "Foolish  Wives." 

At  the  time  Thalberg  was  the  "boy 
wonder"  of  the  industry,  general  man- 
ager of  Universal  at  nineteen.  He  was 
filled  with  startling  new  entertainment 
ideas  and  was  eager  to  apply  them. 
Daniels  was  making  innovations  in  pho- 
tography, developing  new  lighting  ideas 
and  camera  technique. 

This  drew  them  together.  They  began 
their  association  when  Thalberg  made 
Daniels  the  cameraman  on  "The  Merry- 
Go-Round,"  his  first  real  test.  He  made 
good.  When  Thalberg  moved  to  Metro- 
Goldwyn-Mayer  in  1924  Daniels  went 
with  him. 

Steps  Down  to  Step  Up 

Once  more  a  step  down  was  a  step  up 
for  Daniels.  He  became  a  second  camera- 
man to  Oliver  Marsh  on  "The  Merry 
Widow,"  starring  Mae  Murray  and  John 
Gilbert.    This  assured  his  success. 

A  few  months  later  Daniels  was  intro- 
duced to  a  shy  Swedish  girl,  Greta  Gus- 
tafsson,  who  was  to  become  famous  as 
Greta  Garbo.  He  made  some  of  her  first 
tests.  She  liked  them.  So  did  Monta 
Bell,  the  director.  Daniels  was  behind 
the  camera  for  Garbo's  first  Hollywood 
picture,  "The  Torrent."  He  has  photo- 
graphed all  of  her  films  since,  with  the 
single  exception  of  "Conquest,"  due  to 
illness. 

Soon  after  he  started  work  with  Garbo 
Daniels  was  called  to  Thalberg's  office 
to  meet  another  promising  newcomer,  a 
Canadian  girl  whose  name  was  Norma 
Shearer.  He  photographed  one  of  the 
first  pictures  designed  to  build  her  to 
stardom,  "The  Actress."  He  has  since 
been  with  her  on  every  picture  but  two. 

And  so  it  was  the  natural  thing  he 
should  be  assigned  to  photograph  "Marie 
Antoinette,"  the  picture  that  marked  the 
resumption  of  Miss  Shearer's  brilliant 
career.  Always  a  keen  student,  he  has 
never  ceased  to  experiment. 

Works  Months  Ahead 

"Fine  photography  as  well  as  fine  pic- 
tures," said  Daniels  as  he  began  work 
on  the  Shearer  picture,  "result  from 
careful  preparation.  Advance  work  has 
become  increasingly  important  to  obtain 
the  best  results.  'Marie  Antoinette' 
offered  a  problem,  because  candlelight 
was  the  key  lighting  of  the  more  im- 
portant scenes." 

To  assure   uniformity   in  lighting, 


September,  1938    •    American  Cinematographer  395 


Daniels  worked  months  ahead.  He  orig- 
inated a  system  of  lighting  charts,  test- 
ing each  of  the  ninety-eight  sets  in  ad- 
vance and  carefully  noting  the  placing 
of  each  light.  On  one  set,  the  ballroom 
in  the  Palace  at  Versailles,  Daniels  used 
302  baby  spotlights,  a  record  number, 
giving  the  eff'ect  of  thousands  of  flicker- 
ing candles.  Then  he  viewed  the  tests 
with  Art  Director  Cedric  Gibbons,  re- 
arranged his  lights  to  obtain  the  effects 
he  sought  and  had  a  definite  guide  to 
go  by  when  the  scenes  were  actually 
filmed. 

Daniels'  crew,  which  has  been  with  him 
for  years,  operates  with  almost  unbe- 
lievable precision.  His  second,  or  oper- 
ating cameraman,  was  Al  Lane.  His 
assistant  was  William  Riley. 

With  Lane,  Daniels  worked  out  a  tech- 
nique of  always  having  his  camera 
focused  on  the  point  of  interest,  which 


proves  again  that  "the  hand  is  quicker 
than  the  eye." 

"For  example,"  said  Daniels,  "we  are 
making  a  close-up  of  Miss  Shearer  as 
she  sits  in  the  royal  box  at  the  Paris 
opera.  When  she  turns  to  address  Joseph 
Schildkraut,  the  focus  is  changed  in  a 
flash  and  centers  on  Schildkraut,  then 
turns  back  to  her." 

"Similarly,  if  Miss  Shearer  walks  to  a 
window  and  looks  out,  the  focus  switches 
to  the  object  she  is  watching.  This 
changing  of  focus  is  accomplished  in  a 
split  second.  Its  object  is  to  keep  the 
attention  of  the  audience  centered  on  the 
point  of  action." 

After  21  years  as  a  cameraman, 
Daniels  believes  that  the  future  of  mo- 
tion picture  photography  will  produce 
greater  miracles. 

'HVe  are  just  beginning  to  learn  a  few 
of  its  secrets,"  he  commented. 


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Los  Angeles  Cinema  Club 

The  Los  Angeles  Cinema  Club  met  in 
the  auditorium  of  the  Bell  and  Howell 
Company,  716  North  La  Brea  Avenue, 
Hollywood,  Tuesday,  Aug.  2. 

The  letter  from  the  Cross  Roads  of 
the  World  was  read.  The  Club's  trip 
to  the  Harbor  was  discussed. 

Ed.  Pyle  gave  his  report  on  club 
group  camera  insurance.  It  was  voted 
the  report  be  accepted  and  the  group 
camera  insurance  plan  adopted.  It  was 
then  voted  the  club  property  be  insured. 

Messrs.  Walker,  Memory,  Champion, 
Chapman  and  Lucas  agreed  to  bring  to 
the  September  meeting  the  first  films 
they  had  taken. 

President  Gram  introduced  Mr.  Spille- 
naar,  the  speaker  of  the  evening.  He 
discussed  the  difference  between  profes- 
sional and  amateur  motion  pictures.  His 
talk  was  illustrated  with  two  films. 

Church  Anderson  reviewed  articles 
of  interest  in  the  current  movie  maga- 
zines. Two  rolls  of  film  awarded  to 
members  for  experimental  studies  were 
given  to  Dr.  Freebairn  and  Mr.  Parker. 
Dr.  Gerstenkorn's  film  on  China  was 
viewed. 

RICHARD  STITH,  Secretary. 


Cinema  Club  of  San  Francisco 

The  August  meeting  was  held  on  the 
16th  at  26  O'Farrell  street.  Meetings  for 
the  remainder  of  the  year  will  be  held  at 
the  same  address  on  the  third  Tuesday 
of  each  month. 

Roland  Calder,  photographer  of  note 
and  experience,  talked  on  "Composition." 
His  remarks  were  illustrated  with  col- 
ored slides.  Also  he  constructively  criti- 
cized Kodachrome  slides  submitted  by 
members. 

R.  S.  Merville,  8mm.  gadgeteer,  gave 
a  demonstration  in  titling. 

The  vacation  contest  is  under  way 
and  promises  to  result  in  a  large  entry 
list.  Judging  will  be  at  the  September 
meeting. 

E.  G.  PETHERICK,  President. 


396     American  Cinejmatographer    •    September,  1938 


Filming  Unusual  Travelogue 
with  Rare  Ocean  Background 

(Continued  from  Patje  38U) 
and  street  scenes  and  then  away  again 
into  another  sea  sequence  as  we  steamed 
toward  Long  Beach.    As  we  passed  the 
Gulf  of  Tehuantepec  the  worst  storm  I 
ever  experienced  was  in  the  brewing. 
Water  Breaks  Over  Bow 
As  the   tempest   gained   in  violence, 
shots  of  the  bow  of  the  ship  taken  from 
the    signal    bridge    showed    the  water 
breaking  over  in  everincreasing  torrents, 
and  a  view  of  the  Indianapolis  caught  it 
plunging    and    bucking    through  the 
storm. 

As  a  climax  to  these  scenes,  telephoto 
shots  taken  of  the  bow  of  my  ship  were 
completely  obliterated  by  walls  of  spray 
as  each  successive  wave  rolled  over. 
Shortly  thereafter  I  proceeded  to  the 
security  of  my  bunk. 

Several  telephoto  shots  of  schools  of 
leaping  fish  and  close-ups  of  several  por- 
poise taken  through  a  port  hole  preceded 
our  arrival  at  Long  Beach.  I  recorded 
the  ride  by  small  boat  from  ship  to  shore 
as  we  passed  breakwater,  ships  and 
motor  launches  on  our  way. 

Disembarking  at  the  dock  I  photo- 
graphed other  boats  as  they  discharged 
passengers  and  the  welcoming  group 
waiting  on  the  dock  which  concluded  my 
cruise  to  South  America. 

I  arrived  home  with  thirteen  rolls  of 
film  in  my  handbag  and  a  ten  day  fur- 
lough in  which  to  cut  and  splice  them. 
After  editing  my  footage,  I  found  that 
innumerable  titles  would  be  required 
throughout  and  decided  they  should  be 
in  narrative  form.  To  this  end,  a  movie 
party  was  filmed  with  myself  in  the  role 
of  narrator  to  carry  out  the  idea. 

The  first  reel  opens  with  me  arriving 
at  home  from  the  cruise.  After  greet- 
ings are  exchanged  a  close-up  shows  me 
delving  into  my  handbag  and  extracting 
several  rolls  of  film  which  I  show  to 
Mrs.  Teorey.  A  title  cut  in  at  this  point 
reads  in  effect  that  the  pictures  are 
those  taken  on  the  voyage  and  that  it 
would  be  nice  to  show  them  to  our 
friends  in  the  near  future. 

Slight  Illusion 

A  fadeout  followed  by  a  fadein  of  our 
friends  entering  continues  the  idea.  A 
long  shot  next  shows  them  seated  about 
my  projector  as  I  chat  to  them  while 
engaged  in  threading  a  reel  of  film.  A 
couple  of  titles  cut  in  during  this  pro- 
cedure explain  the  nature  of  the  films 
and  a  few  statistics  of  the  cruise. 

A  close-up  of  the  projector  in  action 
is  next  seen  with  a  cut  to  the  opening 
title,  which  was  photographed  with  the 
projector  arranged  in  the  left  fore- 
ground to  show  only  full  and  take-up 
reels  in  action,  creating  a  slight  illusion 
that  it  was  projected. 

A  title  with  the  same  arrangement 
began  each  additional  reel,  and  upon 
conclusion  of  the  last  one  an  apprecia- 
tive audience  is  disclosed  applauding  as 
the  performance  ends. 


To  enhance  further  the  narrative  titles, 
which  were  in  "quotes,"  I  included  a 
couple  of  low  key  shots  of  myself  in 
each  reel  indicating  my  position  at  the 
projector  while  I  moved  my  lips  in  con- 
versation. 

The  finished  pictures  emphasize  the 
fact  that  the  greater  portion  of  our  time 
was  spent  on  the  water.  Each  steaming 
sequence  shows  from  one  to  three  shots 
vignetted  by  an  open  port  and  taken 
from  various  angles.  Our  sister  ship, 
passing  steamers,  islands,  clouds  and 
the  ocean  in  various  .stages  of  unrest 
were  recorded  on  film  in  this  manner. 

Many  shots  were  taken  from  vantage 
points  above  decks  and  each  included  a 
portion  of  a  rail,  small  boat,  mast  or 
rigging  in  order  to  establish  my  camera 
position. 

Two  Filters  Only 

While  on  these  travels  I  employed  two 
filters.  One,  a  red  (2.3A)  was  effective 
where  heavy  seas  required  a  storm  effect 
and  for  obtaining  evening  and  sunset 
scenes.  Cloud  formations  taken  with 
the  aid  of  this  filter  through  port  holes 
appeared  very  striking. 

My  other  filter,  a  yellow-green  (Aero 
2)  came  in  useful  for  cloud  effects,  and 
while  it  brought  them  out  very  effec- 


tively it  didn't  darken  the  sky  and  water 
as  in  the  case  of  the  former. 

Lighting  conditions  on  the  cruise  were 
constantly  changing  as  we  progressed 
into  different  latitudes,  and  a  careful 
check  on  this  was  maintained  at  all 
times  and  especially  at  sea,  where  the 
added  reflections  of  masses  of  water 
made  estimation  more  difficult. 

Nearly  17,000  miles  were  covered  by 
my  photographic  record,  which  was  com- 
pleted in  slightly  more  than  five  weeks. 
Of  course  our  steaming  speed  was  far 
above  normal,  as  we  ran  at  about  25 
knots  an  hour  nearly  all  of  the  trip. 

As  previously  stated,  the  time  spent 
in  most  ports  was  just  a  matter  of  hours, 
thus  limiting  photographic  work  ashore 
to  subjects  found  at  a  short  distance 
from  the  docks,  and  while  many  inter- 
esting places  were  omitted  for  that  rea- 
son yet  sufficient  shots  were  obtained 
at  each  port  to  complete  a  satisfactory 
record  of  the  cruise. 

Coupling  the  sea  and  port  sequences 
in  the  manner  outlined  gave  me  con- 
tinuity throughout  my  reels,  while  my 
movie  party  together  with  the  narration 
flashed  by  my  titles  gave  me  a  600-foot 
story  in  pictures  that  always  will  be 
refreshing  to  me  and  I  hope  a  source 
of  entertainment  to  mv  friends. 


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723  Seventh  Avenue                      New  York  City 
Cable:  Cinecamera  

THE  WORLD'S  LARGEST  VARIETY  OF 
Studio  and  Laboratory  equipment  with  latest 
improvements  as  used  in  Hollywood  at  tremen- 
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process  cameras,  lenses,  color  magazines,  adapt- 
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printers,  splicers,  moviolas,  motors,  light-testers, 
gear  boxes,  synchronizers.  Guaranteed  optically 
and  mechanically  perfect.  Send  for  bargain 
catalogue. 

HOLLYWOOD  CAMERA  EXCHANGE 
1600  Cahuenga  Blvd..  Hollywood,  Calif. 

Cable:  Hocamex  

BELL  AND  HOWELL  170°  CAMERAS— High 
speed  shuttles — high  speed  gear  boxes — 400  and 
1000  foot  Bell  &  Howell  magazines — Bell  & 
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eras. AKELEY  and  DEBRIE  CAMERAS.  Akeley 
motors.  High  speed  motors.  Sunshades,  lenses 
and  finders. 

Write  or  Wire 
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1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 

BELL  &  HOWELL  SILENCED— 3  LENSES,  TRI- 
pcd,  upright  finder,  bargain ;  metal  Debrie,  4 
magazines,  4  lenses,  tripod,  complete  $450.00. 
Debrie  Parvo,  outfit  complete,  $140.00.  Eyemos, 
Devrys  and  many  others. 

CAMERA  MART,  INC. 
70  West  45th  Street  New  York  City 

BELL  &  HOWELL  PROFESSIONAL  CAMERA. 
170  degree  shutter,  semi-silenced  pilot-pin  move- 
ment adjusted  for  bipack.  40mm,  75mm,  4  and 
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and  adapters,  friction  head,  standard  and  baby 
tripods  (Mitchell  legs)  cases,  many  accessories. 
Like  new. 

Box  976,  c|o  AMERICAN  CINEMATOGRAPHER. 


NEW  PRECISION  TEST  REEL  FOR  PROJEC- 
tion  and  Sound.  Developed  by  prominent  SMPE 
member.  Combination  visual,  sound  tests  for 
all  soundtrack  adjustments.  Indicates  travel 
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visual  targets  and  constant  level  frequencies. 
W.  E.  Mirrophonic  recording.  Truly  simpli- 
fied, easily  understood.  Comparative  value, 
$75.00.  With  full  instructions,  $29.50.  16mm 
edition,  $17.50.  S.O.S.,  636 — 11th  Ave.,  New  York. 

WE  BUY,  SELL  AND  RENT  PROFESSIONAL 
AND  16  mm  EQUIPMENT  NEW  AND  USED. 
WE  ARE  DISTRIBUTORS  FOR  ALL  LEAD- 
ING MANUFACTURERS.  RUBY  CAMERA 
EXCHANGE,  729  Seventh  Ave.,  New  York  City. 
Established  since  1910. 

HOLMES  35MM.  SOUNDONFILM,  SEMI-PORT- 
able,  twin  outfit  with  W^ebster  amplifier,  speaker 
$395.  Akeley  camera  (current  model)  with  pair 
2"  matched  Zeiss  f:3.5.  Akeley  tripod.  2-200' 
magazines,  carrying  case  accommodating  cam- 
era. Regular  $1,750.00  outfit  hardly  used  $645.00. 
DeBrie  hand  driven,  2-400'  self-contained  maga- 
zines, visual  focus,  footage  meter,  2"  (Joerz  f  :3.5 
FM  $80.  Eyemo  Turret,  three  Cooke  lenses:  2" 
f:2.5,  3"  f:4,  3%"  f:3.3;  speeds  16-24,  original 
carrying  ease  includes  lenses  when  on  camera 
$339.50.  Eyemo  71K,  both  spring  and  hand 
crank,  100'  daylight  loading,  Cooke  40mm  f  :2.5, 
speeds  12-16-24,  original  carrying  case,  like  new, 
$239.00.  Many  other  good  buys;  still  and  8,  16. 
35mm,  equipment,  films,  accessories.  Trades 
accepted. 

MOGULL'S— 68AC  West  48th,  New  York  City. 
WANTED 

WE  PAY  CASH  FOR  YOUR  USED  CAMERA, 
LABORATORY    AND    STUDIO  EQUIPMENT. 

Write,  wire  or  cable 
MOTION   PICTURE   CAMERA   SUPPLY,  INC. 
723  Seventh  Avenue,  New  York  City 
Cable  Address :  Cinecamera 

yrE  PAY  CASH  FOR  EVERYTHING  PHOTO- 
GRAPHIC. Write  us  today.  Hollywood  Camera 
Exchange.    1600   Cahuenga  Blvd.,  Hollywood. 

WANTED  TO  BUY  FOR  CASH 
CAMERAS  AND  ACCESSORIES 
MITCHELL,  B&H,  EYEMO,  DEBRIE.  AKELEY 
ALSO    LABORATORY    AND    CUTTING  ROOM 
EQUIPMENT 
CAMERA  EQUIPMENT.  INC. 
1600  BROADWAY,  NEW  YORK  CITY 
CABLE:  CINEQUIP 


Show  Your  Pictures 

ANYWHERE 

With  the 
Easily 
Carried 


Quickly 


CHALLENGER 
SCREEN 

SIMPLIFY  the  projection  of  your  movies 
and  stills  with  this  convenient  Da-Lite 
Glass-Beaded  Screen.  The  Challenger  has 
a  tripod  pivotally  and  permanently  attached 
to  the  metal  case.  It  can  be  set  up  anywhere 
in  15  seconds.  The  fully  raised  screen  is 
adjustable  in  height  to  meet  any  projection 
requirements. 

The  surface  is  Da-Lite's  famous  Glass- 
Beaded  surface  which  assures  brighter,  sharp- 
er pictures  without  sparkling  or  glare.  The 
beads  are  guaranteed  shatter-proof.  Pigments 
used  in  treating  the  fabric  are  free  from  oil. 
As  a  result,  the  screen  stays  white  longer  than 
any  other  white  screen  and  the  fabric  stays 
pliable  indefinitely. 

For  greater  convenience,  better  pictures  antl 
lasting  satisfaction,  ask  for  the  Da-Lite  Chal- 
lenger, the  only  screen  with  square  tubing  in 
tripod  and  extension  support.  12  sizes  from 
30"  X  40'  to  70  X  94'.  From  $15.00  up. 
Write  for  details  and  name  of  nearest  dealer. 

DA-LITE  SCREEN  CO.,  INC. 

ManufacUirers  of  Theatrical  and  1\ on-Professional 
Screens  With  All  Types  of  Surfaces  and  Mountings 

DEPT.  9AC,  2773  N.  CRAWFORD  AVENUE,  CHICAGO,  ILLINOIS 


AMERICAN 
CINEMATOGRAPHER 

HAND  BOOK  and 
REFERENCE  GUIDE 

SECOND  EDITION 

Written  and  Compiled  by 

JACKSON  I.  ROSE.  A.S.C. 

We  wish  you  to  know  that .  ♦  ♦ 

The  success  and  complete  sell-out  of  our  previ- 
ous Hand  Book  and  Reference  Guide  and  numer- 
ous requests  for  additional  copies  have  prompted 
us  in  preparing  for  publication  the  Second  Edition 
of  the  American  Cinematographer  Hand  Book  and 
Reference  Guide. 

This  Hand  Book  is  indorsed  and  recommended 
by  the  leading  cinematogrophers  of  Hollywood. 
Full  and  complete  with  the  latest  information  for 
all  types  of  photography.  Professional  35  mm., 
amateur  16  m.m.  and  8  m.m.,  miniature  cameras, 
films,  filters,  lenses,  formulas,  calculators,  color 
systems,  projectors,  make-up,  timers,  film  speeds, 
etc.;  it  is  just  jammed  full  of  the  right  kind  of  infor- 
mation, 200  pages  of  it,  all  of  this  printed  on  the 
very  best  paper  with  a  fine  grain  flexible  cover. 
Pocket  size — the  right  size  that  fits  into  your  pocket. 

...  PRICE  $3.00  ... 

American  Society 
of  Cinematographers 

1782  North  Orange  Drive      Hollywood,  California 


Complete  Equipment 


Mitchell  Cameras 

and 

Sound  Recorders 


Latest  Type — 

Precision  Built  to 
Highest  Standards 


Mitchell  Camera  Corporation 

665    NORTH    ROBERTSON  BOULEVARD 
WEST    HOLLYWOOD,  CALIF. 


Cable  Address  "MITCAMCO" 


BELL  &  HOWELL  CO.,  LTD..  London,  England 
CLAUD  C.  CARTER,  Sydney,  Australia 
D.  NAGASE  &  CO.,  LTD.,  Osaka,  Japan 


Phone  oxford  1051 


AGENCIES 


MOTION  PICTURE  CAMERA  SUPPLY,  INC.,  New  York  City 
BOMBAY  RADIO  CO.,  LTD.,  Bombay,  India 
H.  NASSIBIAN,  Cairo,  Egypt 


FOR  AMATEUR  AND  PROFESSIONAL  PHOTOGRAPHERS 


Piiblished  in  Hollywood  by 
American  Society  of  Cinematographera 


October 
1938 


To  be  truly  versatile,  a 
negative  film  must  have  speed, 
fine  grain,  and  wide  latitude. 

^Actual  experience  establishes 
that  Du  Pont  Superior  Pan  ef- 
fectively combines  these  qual- 
ities. They  make  this  film  the 
natural  choice  for  good  pictures. 


Du  Pont  Film  Manufacturing  Corporation 

INCORPORATED 

9  Rockefeller  Plaza  SMITH  &.  ALLER,  LTD. 

New  York.  .  .  .  N.  Y.  6656  Santa  Monica  Blvd. 

Plant  .  .  Parlin,  N.  J.  Hollywood  .  •  .  California 


BETTER  THINQS  for  BETTER  LlVmQ  through  CHEMISTRY 


October,  1938    •    American  Cinematographer  397 


MASTER  OF  THE 


THE  VERSATILE 


NEVER  before  has  there  been  a 
camera  with  the  versatility  of  the 
new  Eyemo!  Today  this  already  superb 
35  mm.  movie  camera  is  even  finer — 
ready  in  an  instant  to  cope  success- 
fully with  emergencies  and  special 
assignments  both  in  studio  and  afield. 

What  will  you  have.''  A  swift  shift  of 
lenses?  .  .  .  conversion  from  100-foot 
film  capacity  to  200-  or  400-foot 
magazines.'  ...  a  tripod  mount  or  a 
light,  easy-to-handle  hand  camera?  . . . 
a  change  from  electric  to  spring  or 
hand  drive  when  convenience  dic- 


tates? ...  a  silent  camera  or  a  hookup 
for  sound?  .  .  .  slow  motion  or  silent 
or  sound  speeds?  Whatever  the  de- 
mand, the  new  Eyemo  is  there  to 
meet  it. 

The  new  Eyemo  is  made  with  typical 
Bell  &  Howell  precision  and  yet  with 
a  sturdiness  that  gives  it  unmatched 
dependability  in  the  strenuous  work 
for  which  it  is  designed.  Such  features 
as  three-lens  turret,  focusing  and  dia- 
phragm controls  visible  through  the 
spyglass  viewfinder,  interchange- 
ability  of  motors,  standard  S.  M.  P.  E. 


sound  aperture,  and  vibrationless  gov- 
ernor assuring  accurate  speeds  make 
the  new  Eyemo  distinctively  superior 
in  the  field  of  portable  cameras — an 
instrument  of  unexcelled  performance. 

Write  for  literature  describing  the 
new  Eyemo  in  detail — it  will  be  mailed 
without  obligation. 

BELL  &  HOWELL  COMPANY 

1848  Larchmont  Avenue  •  Chicago 

New  York:  30  Rockefeller  Plaza  •  Hollywood:  716 
N.  La  Brea  Ave.  •  London:  13-14  Great  Castle  St. 

Established  1907 


BELL  &  HOWELL 


398     American  Cinematographer    •    October,  1938 


AMERICAN 
CINEMATOGRAPHER 


A  Technical  and  Educational  publication 
on  motion  picture  photography. 
Published  monthly  by  the 

AMERICAN  SOCIETY 

OF  CINEMATOGRAPHERS.  INC. 

1782  North  Orange  Drive 

Hollywood  (Los  Angeles),  California 

Telephone  GRanite  2135 

VICTOR  MILNER.  President. 
FRED  W.  .lACKMAN,  Trea-surer. 


Vol,  19 


October,  1938 


No.  10 


Contents 

Father  Hubbard  in  Alaska  makes  rec- 
ord filming   399 

By  Margaret  Hughes 

Flashing  across  nearly  sixty  years  403 

By  Dr.  Joseph  Gevaert 

Dunning  has  three-color  process  ready 
to  go   406 

Mole-Richardson  introduces  Duarc  407 

Ingenious   accessories   simplify  special 

effects  shots   408 

By  George  Teague 

Captain  Mulkey,  U.S.A.,  comes  to  stu- 
dios  410 

Midget  sun  is  1000-Watt  mercury  lamp. 411 

American  cameramen  lead  412 

By  Joseph  Pasternak 

American  Annual  1939  is  book  worth 
having   415 


The  Staff 


EDITOR 

George  Blaisdell 

WASHINGTON 
STAFF  CORRESPONDENT 

Reed  N.  Haythorne,  A.  S.  C. 

TECHNICAL  EDITOR 
Emery  Huse,  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 

Victor  Milner,  A.  S.  C. 
James  Van  Trees,  A.  S.  C. 
Fred  W.  Jackman,  A.  S.  C. 
Farciot  Edouart,  A.  S.  C. 
Fred  Gage,  A.  S.  C. 
Dr.  J.  S.  Watson.  A.  S.  C. 
Dr.  L.  A.  Jones,  A.  S.  C. 
Dr.  C.  E.  K.  Mees,  A.  S.  C. 
Dr.  W.  B.  Rayton,  A.  S.  C. 
Dr.  Herbert  Meyer,  A.  S.  C. 
Dr.  V.  B.  Sease,  A.  S.  C. 


The  Front  Cover 

JAMES  STEWART  and  Jean 
Arthur  as  they  appear  in  the 
Columbia-Frank  Capra  pro- 
duction "You  Can't  Take  It  with 
You" — a  subject  which  not  only 
was  voted  the  picture  of  the  month 
but  most  assuredly  also  will  be 
one  of  the  strong  contenders  for 
the  honor  of  being  the  picture  of 
the  year. 

Joseph  Walker,  A.S.C.,  directed 
the  photography  on  the  picture. 
He  was  second  in  the  honors  for 
the  leading  camera  work  of  the 
month. 


CIRCULATION  MANAGER 

L.  F.  Graham 

NEW  YORK  REPRESENTATIVE 

S.  R.  Cowan,  19  East  47th  St.,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 

Georges  Benoit,  100  Allee  Franklin, 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 

AUSTRALIAN  REPRESENTATIVE 

McGill's,  179  Elizabeth  Street.  Melbourne, 
Australian  and  New  Zealand  agents. 

Neither  the  American  Cinematographer  nor 
the  American  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. 


ESTABLISHED  1920.  Advertising  Rates  on  application.  Subscription:  United  States,  $2.50  a  year;  Canada  and  the  Pan-American  Union.  S2.50  a  year; 
P'oreign,  $3.50  a  year.  Single  copies,  25  cents;  back  numbers,  30  cents;  foreign,  single  copies,  35  cents;  back  numbers,  40  cents.  COPYRIGHT  1938  by 
American  Society  of  Cinematographers,  Inc. 


Entered  as  second  class  matter  November  18,   1937,  at  the  postoffice  at  Los  Angeles,  California,  under  the  Act  of  March  3,  1879. 


October,  1938    •    American  Cinematographer  399 


FATHER  HUBBARD 
IN  ALASKA  MAKES 
RECORD  FILMING 

By  MARGARET  E,  HUGHES 
Secretary  The  Pacific  Geograpkic  Society 


IN  the  early  summer  of  1937  Father 
Bernard  R.  Hubbard,  S.  J.,  famous 
"Glacier  Priest,"  left  Juneau  for  a 
year's  sojourn  on  a  tiny  island  in  the 
Bering  Sea.  He  and  his  party  of  scien- 
tists were  on  their  way  to  King  Island 
to  study  and  film  its  cliff  dwellers,  a 
race  of  Eskimos  different  from  other 
tribes  because  they  do  not  live  in  igloos 
or  even  dug-outs,  but  in  cliff  dwellings 
perched  on  the  precipitous  sides  of  their 
rocky  land. 

The  best  way  to  locate  the  speck 
toward  which  the  Hubbard  party  headed 
is  to  find  where  the  168th  parallel  of 
longitude  and  the  65th  parallel  of  lati- 
tude intersect.  When  you  find  King 
Island  or  Ukiuvok,  its  Eskimo  name,  you 
will  see  where  men  and  dogs  and  a  hun- 
dred tons  of  equipment  were  put  ashore. 

The  projects  of  construction  imme- 
diately put  underway  by  Father  Hub- 
bard and  his  assistants  had  the  Eskimos 
wide-eyed  with  wonder.  Comfortable 
houses  were  built.  A  large  social  hall 
capable  of  holding  the  entire  population 
was  put  up.  Electric  light  plants,  radios 
and  talking  pictures  were  installed,  and 
a  year  of  diversified  pursuits  began  for 
the  scientists. 

Staff  of  Scientists 

Kenneth  Chisholm  was  engineer  and 
gunsmith.  In  addition  he  made  daily 
records  of  the  ice  and  current  movements 
valuable  to  the  science  of  oceanography. 

Bernard  Stanley,  former  assistant  at 
Richard  Observatory  of  Santa  Clara 
University,  was  radio  operator.  Ed 
Levin,  field  manager  for  Father  Hub- 
bard, opened  a  gymnasium  for  physical 
culture  correctives  among  the  King 
Islanders,  while  Dr.  Victor  E.  Levine 
of  Creighton  University  was  sent  on  to 
Point  Barrow  to  conduct  research  there 
among  the  Eskimos  to  determine  the 
benefits  of  medicine  as  compared  with 

Father  Bernard  R.  Hubbard,  S.  J.,  be- 
loved "Glacier  Priest,"  exposes  100,000 
feet  of  film  and  12,000  stills  to  bring 
additional  geographical  and  ethnological 
treasures  of  Alaska  to  people  of  North 
America. 


Levin's  course  of  physical  exercises. 
Levin,  former  Santa  Clara  football 
star,  was  admirably  fitted  to  take  over 
his  task.  The  recreation  hall  was  con- 
verted into  the  gymnasium,  complete  in 
every  detail.  And  in  six  months  the  re- 
sults were  apparent  even  to  the  most 
skeptical. 

Flat  chested  children  straightened  up 
and  filled  out;  weaklings  became  strong, 
and  health  and  confidence  were  instilled. 
Boxers  were  trained  to  a  point  where 
they  equaled  any  pugilist  in  their  class 
anywhere. 

In  football  they  even  had  their  "Ice 
Bowl"  classic  to  end  the  season.  And  did 
they  love  it!    The  consensus  of  the  popu- 


lation is  that  this  game  excelled  the  best 
in  the  history  of  football. 

Candy  and  a  Boy 

In  the  meantime,  Father  Hubbard  made 
a  complete  botanical  collection  of  the 
island  flora,  assisted  by  every  small  boy 
with  a  sweet  tooth.  Candy  was  the  re- 
ward for  each  new  specimen  brought  in. 
He  wrote  a  commentary  and  compilation 
of  the  King  Island  language  as  com- 
posed by  Father  Lafortune  in  over  35 
years  among  these  people. 

Mainly,  though,  the  priest  was  taking 
motion  pictures  and  stills  for  a  com- 
plete pictorial  record  of  the  life,  customs 
and  surroundings  of  the  island.    He  took 


400     American  CiNEMATOCRAPHEai    •    October,  1938 


12,000  stills  and  used  100,000  feet  of 
Agfa  Plenachrome  film. 

The  stills  Avill  illustrate  a  new  book  of 
pictures  soon  to  be  published.  The  movies 
will  be  cut  and  edited  under  the  title 
"Cliff  Dwellers  of  the  Far  North"  to  be 
used  in  Father  Hubbard's  annual  trans- 
continental lecture  tour.  He  opens  his 
season  at  the  Pasadena  Civic  Auditorium 
on  October  4  and  at  Wilshire  Ebell  Thea- 
ter in  Los  Angeles  on  October  5  and  6, 
under  the  auspices  of  the  Pacific  Geo- 
graphic Society. 

When  he  completes  these  engagements 
he  will  have  appeared  for  this  organiza- 
tion seventeen  times  in  the  past  seven 
years — in  Los  Angeles,  Pasadena,  Long 
Beach  and  San  Diego — to  a  combined 
known  audience  of  a  hundred  thousand 
persons. 

Power  of  Visual  Aids 

More  than  any  other  scientist-explorer. 
Father  Hubbard  has  used  the  motion 
picture  to  popularize  his  subject  among 
his  layman  audiences.  His  usual  lecture 
schedule  is  better  than  27.5  lectures  in 
a  season  in  the  key  cities  of  the  nation, 
and  he  returns  year  after  year  to  the 


same  groups,  as  in  the  case  of  the  Pacific 
Geographic  Society. 

This  is  proof  of  the  power  of  visual 
aids  in  educational  entertainment.  Bril- 
liant and  dynamic  speaker  that  he  is, 
Father  Hubbard  fully  realizes  the 
mighty  power  of  the  screen,  and  the  ma- 
terial available  on  King  Island  for  an 
Eskimo  epic  was  enough  to  excite  the 
enthusiasm  of  even  a  veteran  like  him. 

A  mountain  rises  some  thousand  feet 
out  of  the  sea,  longer  than  it  is  wide,  its 
two  extremities  extending  hornlike  above 
the  rest  making  a  saddlelike  plateau. 
Great  grotesque  "hoodoo"  rocks  stand 
against  the  skyline.  Three  sides  of  the 
island  drop  sheer  to  the  sea.  No  beach 
or  landing  place  exists;  only  the  swells  of 
the  Bering  Sea  constantly  rise  and  fall. 

On  the  sheltered  lee,  facing  the  sea  is 
a  group  of  strange  dwellings  perched  on 
the  rocks,  tied  to  the  rocks,  built  into 
the  rocks,  forming  according  to  Father 
Hubbard  one  of  the  most  interesting  vil- 
lages in  the  world. 

Built  on  stilts,  these  houses  seem  to 
stand  dizzily  over  space.  Their  con- 
struction is  as  singular  as  their  site. 
Drift  logs  seasoned  by  time  make  the 


Little  King  Islander  and  her  puppies. 

walls,  roof  and  floor.  Layers  of  moss 
insulate  the  wood.  Huge  walrus  hides 
are  laced  with  thongs  for  a  covering  as 
water-proof  as  one  can  wish. 

Usually  a  community  house  is  grouped 
about  the  same  stilts.  Each  family  has 
its  own  private  home  from  which  a  tiny 
opening  just  big  enough  to  crawl  through 
permits  egress  to  a  long  shed  or  conrunon 
storehouse. 

Village  of  Ukiuvok 

From  the  shed  is  one  large  opening 
leading  out  to  a  porch  whence  a  ramp 
goes  down  to  the  stony  path  which  forms 
the  village  street.  In  addition  to  the 
houses  there  are  three  large  kasgas,  or 
dug-outs  of  logs  or  rocks  where  tribal 
gatherings,  games  and  dances  are  held 
and  most  of  the  work  is  done. 

At  night  in  these  kasgas  sleep  unmar- 
ried young  men  for  whom  there  would 
be  no  room  in  the  small  crowded  homes. 
The  three  kasgas,  a  government  school, 
Catholic  church,  social  hall,  power  house, 
gymnasium  and  four  dozen  stilt  houses 
make  up  Ukiuvok,  the  village  of  King 
Island. 

What  kind  of  people  make  the  village  ? 
A  group  of  Eskimos  unique  not  only  in 
the  type  of  dwellings  they  build  but 
unique  in  their  racial  beliefs  form  the 
population  of  Ukiuvok.  As  far  back  as 
any  history  or  tradition  goes  they  and 
their  ancestors  always  have  lived  there. 

Other  Bering  Sea  Islanders  have  folk 
yarns  in  which  the  world  began  on  their 
particular  island  and  human  beings 
originated  there  in  some  fantastic  man- 
ner. Not  so  the  King  Islander.  He  con- 
siders himself  Asiatic;  that  his  ances- 
tors came  from  somewhere  near  Unalak- 
leet  on  Norton  Sound  or  East  Cape, 
Siberia. 

This  is  a  rational  deduction,  for  his 
language  is  identical  with  that  of  Una- 
lakleet  and  East  Cape.  Why  he  should 
perch  on  the  rocky  cliffs  of  King  Island 
and  not  migrate  to  more  desirable  loca- 
tions presents  itself  as  a  problem  to 
everyone  but  him. 

Food  a  Life  Battle 

And  when  one  considers  the  situation 
from  his  viewpoint  many  reasons  can  be 
found  to  show  that  he  has  picked  a  very 
desirable  location,  in  fact  the  most  de- 
sirable in  the  far  north. 

In  the  arctic  and  sub-arctic  regions  the 
main  problems  of  life  is  food.  While 
abundant,  it  is  scattered,  and  this  ac- 
counts for  human  beings  spreading  out 
in  many  small  isolated  groups  capable 
of  existing  on  the  food  supplies  of  the 
immediate  vicinity  rather  than  settling 
in  larger  communities  which  would  soon 
exhaust  local  resources. 

In  peopling  the  forbidding  north  the 
more  aggressive  Indian  tribes  followed 
the  rivers  into  the  vast  forested  interior 
and  settled  where  game  and  fish  and  a 
more  bounteous  nature  surrounded  them. 
The  more  placable  Eskimos  stuck  to  the 
bleak  tundra  of  the  Arctic  Ocean  and 
the  Bering  Sea. 

The  northern  seas  are  as  prodigal  in 


October,  1938    •    American  Cinematographer  401 


EDITOR'S  NOTE:  Father  Hub- 
bard is  the  first  speaker  in  the 
"Globe  Trotter"  series  of  the  Pa- 
cific Geographic  Society,  a  six- 
event  course  combining  speaker  and 
motion  pictures  dealing  with  ex- 
ploration, science  and  world  travel. 
Alaska,  Guatemala,  the  Amazon, 
Africa,  Mexico  and  Australia  will 
be  seen  during  the  1938-9  season 
through  the  still  and  motion  pic- 
tures of  the  lecturers  at  the  Pasa- 
dena Civic  Auditoriuni  and  the  Los 
Angeles   Wilshire   Ebell  Theater. 


marine  life  as  the  great  bodies  of  water 
in  other  parts  of  the  world.  The  eco- 
nomic structure  of  Eskimo  life  did  not 
need  iron,  or  copper,  oil,  coal  or  other 
basic  products  for  which  nations  spill 
blood.  Ivory  and  whalebone  took  the 
place  of  metals  and  wood.  Animal  and 
fish  oils  supplied  heat  energy. 

The  skin  of  sea  animals  supplied 
clothing  and  coverings  for  boats  and 
houses,  while  the  multitudinous  life  of 
the  sea  afforded  food  in  abundance.  In 
the  short  but  intense  summer  many 
varieties  of  edible  greens  and  berries 
gave  them  necessary  vitamins. 

Berries  and  Greens 

Migratory  birds  by  the  millions  left 
eggs  for  a  change  of  diet.  Taken  all  in 
all,  the  Eskimo  and  particularly  the 
King  Islander  could  live  and  even  enjoy 
life  according  to  his  standards. 

When  the  long  spring  days  begin  to 
advance  toward  the  twenty-four  hour 
daylight  of  June  and  July,  the  plateau 
top  of  King  Island,  the  grassy  nooks  and 
crannies  of  the  rocky  sides  become  cov- 
ered with  a  vigorous  and  diversified 
vegetation.  Several  varieties  of  excel- 
lent edible  greens  are  collected  to  be 
eaten  fresh  or  stored  away  for  winter 
use,  some  dry,  some  in  water,  some  in 
seal  or  walrus  oil. 

May  kinds  of  berries  are  gathered  and 
preserved  for  winter  use.  All  the  eggs 
that  can  possibly  be  used  are  gathered 
without  diminishing  in  the  least  the  hun- 
dreds of  thousands  of  birds  which  return 
each  spring.  Contrary  to  popular  notions, 
these  sea  birds  make  excellent  eating, 
even  young-  gulls,  murres  and  sea  par- 
rots. 

Apportion  the  Kill 

From  the  sea  the  native  takes  huge  cod 
and  bullheads,  enormous  crabs  and  all 
sorts  of  smaller  fish.  Shrimps  can  be  ob- 
tained in  abundance  any  time  one  wishes 
to  go  out  and  get  them.  Edible  sea  weeds 
are  occasionally  gathered  for  variety. 

Seal,  oogruk  and  polar  bear  come  with 
the  winter,  and  every  day  the  men  sally 
forth  to  hunt  on  the  pushing,  breaking, 
evermoving  ice.  Arriving  at  a  lead  of 
open  water,  the  islanders  wait  on  the 
unsteady  ice  for  a  seal  or  oogruk  to  come 

Hunters  have  brought  in  a  whale.  This 
gives  excellent  view  of  huge  oomiak,  or 
skin  canoe. 


to  the  surface  to  breathe.  Then  they 
shoot. 

With  a  thong  tied  through  the  animal's 
head  and  a  broad  leather  harness  across 
their  own  chests  they  drag  home  their 
kill.  Sometimes  their  dogs  do  the  job 
for  them.  At  the  base  of  the  island  cliff 
wait  the  women,  ever  on  the  watch  for 
their  husbands'  return. 

Dragging  the  carcass  into  the  shed 
which  forms  an  integral  part  of  their 
house,  they  carefully  butcher  and  ap- 
portion the  animal  to  all  its  proper  uses. 
The  skin  is  for  clothing  or  mukluk  tops. 
Mukluks  are  fur-lined  boots.  The  dried 
intestines  make  a  parchment-like  water- 
proof parka.    The  meat  becomes  food. 

Polar  bears  are  not  so  very  numerous 
and  they  begin  to  appear  in  mid-winter, 
moving  with  the  arctic  ice.  The  island- 
ers slay  about  a  dozen  in  a  season  to 
sell  the  beautiful  white  hides  for  a  pal- 
try sum.  For  to  them  the  polar  bear  is 
insignificant,  while  the  real  basic  neces- 
sity of  their  economic  existence  is  the 
huge  walrus  herds  that  follow  the  break- 
up of  the  ice  and  in  the  spring  come 
down  from  their  native  Siberia  in  herds 
of  many  thousands. 

Then  the  natives  work  day  and  night, 
pushing  out  to  sea  in  huge  oomiaks  or 
skin  boats  capable  of  holding  a  dozen 
men  and  several  tons  of  freight,  to  seek 
the  animals  spotted  from  lookouts  atop 
the  island. 

Grounding  their  boats  to  the  nearest 
cake  of  ice  at  the  scene  of  action,  the 
hunters,  clad  in  white  parkas  for  the 
sake  of  camouflage,  creep  toward  the 
herd.  At  a  signal  they  shoot.  Then 
with  feverish  haste,  for  time  is  an  im- 
portant factor  they  start  cutting  up  the 
slain  beasts. 

Tusks  Most  Valuable 

Most  valuable  are  the  ivory  tusks. 
The  hides  of  the  younger  bulls  come 
next.  They  make  the  best  roofs  for  their 
houses,  hulls  for  their  boats  and  a  va- 
riety of  receptacles  and  utensils  very  in- 


genious in  their  construction.  The  meat 
is  a  prized  food. 

The  "Great  Hunting,"  as  the  short 
walrus  season  is  called,  is  so  intense 
that  it  would  be  difficult  to  keep  all  the 
meat  were  it  not  for  another  great 
natural  advantage  of  the  land,  an  im- 
mense cold  storage,  the  like  of  which  ex- 
ists on  no  other  island  in  the  Bering  Sea. 

A  cleft  in  the  side  of  the  island  goes 
up  and  back  a  few  hundred  feet.  There 
are  many  smaller  adjoining  chambers, 
ice  covered  from  seeping  water  and  per- 
manent the  year  around.  In  these  caves 
surplus  meat  is  stored  and  keeps  fresh 
for  years. 

Against  the  possibility  of  starvation 
from  lack  of  game,  the  King  Islanders 
keep  their  storage  plant  stocked  with  at 
least  a  year's  supply  of  frozen  meat. 

In  other  islands  of  the  far  north 
fresh  water  often  becomes  an  acute  prob- 
lem. But  not  on  King  Island,  for  here 
springs  and  seepages  from  the  plateau 
island  top  form  a  lively  stream  which 
dashes  alongside  the  village  to  the  sea. 
Even  in  the  driest  summer,  water  is  al- 
ways obtainable,  which  probably  ac- 
counts for  the  great  cleanliness  of  the 
people. 

Luxuries  Bring  Sickness 

Accounts  of  the  early  navigators  and 
explorers  picture  the  King  Islander  as 
they  found  him  in  his  primitive  state. 
Essentially  he  lives  now  as  he  lived 
then,  on  the  spoils  of  the  sea.  But  the 
gradual  approach  of  civilization  and  edu- 
cation of  the  white  man  has  changed  his 
life  considerably.  He  is  fast  losing  his 
independence. 

In  imitating  the  white  man's  life  and 
adopting  the  white  man's  food  and  cus- 
toms, he  is  acquiring  habits  and  sick- 
nesses unknown  in  his  primitive  state. 
Particularly  do  his  lungs  and  teeth  suffer 
by  the  change. 

Though  skeletal  remains  show  the  King 
Islander  as  a  sturdy  man  in  primitive 
times,  very  little  is  known  of  his  ancient 
history.     Having  no  written  language, 


402     American  CiNEMATOGRAPHEai    •    October,  1938 


King  Island  dwelling  clinging  to  rocky 
hillside. 

his  history  is  passed  on  by  oral  tradi- 
tions which  usually  hinge  upon  important 
events.  Two  such  events  chronicle  the 
advent  of  the  twentieth  century. 

Today  the  B.  C.  and  A.  D.  of  Eskimo 
chronology  is  before  and  since  the  great 
plague  of  1900,  which  almost  annihilated 
the  race.  Mysterious  and  still  unex- 
plained by  medical  science,  a  dread  dis- 
ease spared  the  whites  and  took  only 
the  natives. 

It  spread  over  the  new  world  adjacent 
to  the  Bering  Sea  and  the  Arctic  Ocean 
and  carried  off  its  victims  so  suddenly 
and  so  fast  that  the  living  could  not  bury 
the  dead.  Over  two-thirds  of  the  race 
perished.  Before  the  plague  there  were 
villages  at  the  mouth  of  almost  every 
river,  upon  every  cape  and  one  or  more 
on  every  island. 

When  the  plague  passed,  whole  vil- 
lages had  disappeared,  leaving  not  a  sin- 
gle soul.  Sledge  Island,  second  only 
to  King  Island  in  natural  advantages, 
was  left  without  inhabitants.  Cape  Wolly, 
Sinarok,  Cape  Douglas  and  many  other 
sites  on  the  mainland  were  completely 
wiped  out. 

Death  Rate  Ties  Birth 

Of  the  seven  villages  on  great  St. 
Lawrence  Island,  only  a  small  one  re- 
mained. King  Island,  with  a  large  thriv- 
ing central  village  and  two  smaller  off- 
shoots, had  300  inhabitants  before  the 
plague.     Fifty  survived. 

The  village  of  Ukiuvok  now  has  a 
population  of  about  two  hundred,  but 
the  extremely  hard  life  and  the  fact  that 
the  natives  are  all  afflicted  with  tubercu- 
losis keeps  them  from  multiplying.  The 
birth  rate  is  high,  but  the  death  rate 
evens  it  up,  and  at  best  the  King  Island- 
ers are  just  about  holding  their  own. 


In  other  respects  the  people  are  very 
strong  and  healthy,  living  to  quite  ad- 
vanced old  age.  No  diabetes,  no  venereal 
disease,  cancer  or  hardening  of  the 
arteries  has  ever  been  specifically  knowm 
among  them. 

They  have  never  had  a  resident  doctor 
or  nurse,  so  the  well  being  of  the  people 
is  the  more  remarkable  when  one  con- 
siders that  the  present  chief  of  the 
tribe  is  doctor,  dentist,  surgeon  and  mid- 
wife all  in  one.  In  the  past  fifty  years 
there  has  been  but  one  single  mortality 
in  childbirth  in  over  twelve  hundred 
cases. 

But  the  death  rate  among  young  chil- 
dren is  alarming,  and  they  are  in  great 
present  need  of  better  physical  build-up. 
In  fact,  they  have  been  steadily  becoming 
weaker  and  less  resistant  with  the  years. 


The  most  important  event  from  an 
economic  and  cultural  standpoint  in  the 
existence  of  the  King  Islanders  came  at 
the  turn  of  the  century  with  the  arrival 
among  them  of  a  young  Canadian  Jesuit. 

One  of  a  family  of  14  children  raised 
on  a  Quebec  farm,  Bellarmine  Lafor- 
tune  received  his  education  at  the  local 
College  in  Winnepeg,  later  at  Montreal, 
and  so  great  was  his  aptitude  for  mathe- 
matics that  he  was  sent  to  the  Univer- 
sity of  Paris  for  special  studies  in  this 
subject. 

Greatness  in  a  Hamlet 

Returning  presumably  for  college 
work  in  Canada,  a  vocation  nearer  to  his 
heart  came  unexpectedly.  Alaska  was 
being  opened  as  a  mission  and  volunteers 
were  requested.  Father  Lafortune  ap- 
plied, was  accepted  and  was  immediate- 
ly on  his  way  to  the  mining  camps  of 
Nome. 

Here  he  met  his  first  King  Islanders. 
He  continued  on  to  their  island,  and  for 
thirty-five  years  has  never  been  away. 
Not  once  has  he  taken  a  trip  either  to 
his  native  Canada  or  to  the  United 
States,  but  has  made  his  life  all  these 
years  one  of  unselfish  service  to  these 
people  in  the  bleak  Bering  Sea. 

He  soon  mastered  their  language  un- 
til he  spoke  it  better  than  they.  He  made 
their  life  and  problems  his.  He  saw  the 
future  value  in  the  walrus  ivory  which 
they  were  then  using  only  for  crude  tools 
and  implements,  throwing  most  of  it 
away.  He  taught  them  the  rudiments 
of  carving. 

Entire  Populace  Migrates 

Oriental  like,  they  were  quick  to  learn. 
Soon  they  became  so  proficient  that  in 
the  course  of  years  the  demand  for  their 
carvings  exceeded  their  ivory  supply 
and  King  Island  has  become  kno\vTi  to 
(Continued  on  Page  JflO) 

Father  Hubbard  using  his  Eyemo  on 
Eskimo  as  he  works  over  walrus. 


October,  1938  • 


American  Cinematographer  403 


FLASHING 
ACRO 
NEARLY 

IXT  Y 
YEAR: 


By  Dr,  Josepli  Gevaert 

From  the  Manchester  (England)  Guardian  Commercial 


Dr.   Joseph   Gevaert,   managing    director   Photo  Produits 
Gevaert  S.  A.  and  son  of  that  company's  founder  as  well  as 
president  of  Gevaert  Company  of  America  Inc. 


WITH  the  tremendous  develop- 
ment of  photography  since  the 
war  and  its  position  in  so  many 
different  spheres  of  human  activity,  pho- 
tographic manufacturers  have  been 
faced  with  a  number  of  complicated  and 
widely  differing  problems. 

It  was  about  1880  that  the  photo- 
graphic industry,  as  such,  came  into  be- 
ing; before  then  photographers  were 
obliged  to  prepare  their  own  plates  and 
papers. 

Before  the  Great  War  photography 
was  chiefly  devoted  to  portraiture  and 
illustration,  while  also  serving  as  a 
hobby  to  a  number  of  amateurs,  still 
comparatively  small. 

The  war  brought  about  new  applica- 
tions and  drew  attention  to  the  countless 
possibilities  of  photography,  but  it  was 
only  after  1918  that  the  industry  started 
to  make  progress. 

When  cheap  cameras  were  introduced 
the  number  of  amateurs  increased  con- 
siderably. But  the  cameras,  with  their 
comparatively  weak  lenses,  called  for 
the  manufacture  of  faster  emulsion,  a 
demand  that  could  be  satisfied  without 
much  difficulty. 

However,  trouble  occurred  a  short 
time  later,  when  amateurs  began  to 
abandon  large  sizes  and  give  preference 


to  lighter  and  more  compact  cameras, 
leaving  the  finisher  to  enlarge  their 
negatives  to  the  desired  size. 

Immediately  a  grave  defect  was  found 
in  the  rapid  emulsion,  which  had  hitherto 
given  entire  satisfaction.  The  grain  of 
the  emulsion  had  so  far  remained  un- 
noticed, but  it  assumed  impossible  pro- 
portions when  enlarged,  for  the  increase 
in  speed  had  been  achieved  only  by 
sacrificing  the  fineness  of  the  grain. 

Sheppard's  Discovery 

The  merit  of  having  discovered  a 
means  of  overcoming  this  difficulty  be- 
longs to  the  American  scientist  Shep- 
pard,  who  in  1925  proved  that  the  pres- 
ence of  certain  sulphur  particles  in  the 
gelatine  will  increase  the  speed  of  the 
emulsion  without  detriment  to  its  other 
features,  and  a  judicious  choice  of  the 
appropriate  gelatine  enables  the  manu- 
facturer considerably  to  increase  the 
speed  of  his  emulsion. 

From  400  H.&D.  at  the  outset,  it  in- 
creased, five  years  ago,  to  650  H.&D., 
then  to  1,000  H.&.D.,  and  today  it  has 
reached  speeds  ranging  fi'om  2,000  to 
8,000  H.&D. 

The  increase  in  speed,  however, 
brought  with  it  still  further  problems. 
It  was  noticed,  among  other  points,  that 
when  the  speed  was  forced  the  latitude 


decreased  in  proportion.  And  for  ama- 
teurs—  especially  for  beginners — this 
characteristic  in  the  emulsion  is  of  the 
greatest  importance. 

The  difficulty  was  eventually  overcome 
by  making  improvements  in  the  coating 
plants,  and  more  recently  by  the  manu- 
facture of  emulsions  with  several  dis- 
tinct coatings  of  different  speeds,  and 
also  by  the  addition  of  such  chemicals 
as  sodium  nitrate. 

It  may  even  be  asserted  that  the  ultra- 
rapid  emulsions  made  at  present  have  a 
latitude  at  least  as  extensive  as  the 
slower  emulsion  supplied  twenty  years 
ago. 

Color  Sensitive  Films 

While  they  were  engaged  in  increas- 
ing the  speed  the  photographic  manufac- 
turers approached  the  task  of  sensitizing 
the  emulsions  to  all  the  rays  of  the 
visible  spectrum  by  incorporating  in 
them  certain  special  coloring  elements 
which  imparted  greater  sensitivity  to 
the  affected  parts  of  the  silver  bromide. 

Thus  the  color-sensitive  plates  and 
films  were  produced — orthochromatic 
(sensitive  to  blue,  green,  and  yellow) 
and  panchromatic  (sensitive  to  blue, 
green,  yellow,  and  red). 

The  material  proved  a  boon  whenever 
there  was  a  need  to  render  colors  accord- 


404     American  Cinematographe24    •    October,  1938 


Believed  to  be  the  first  single- 
system  sound  recorder  which  re- 
quires no  alterations  to  camera 
equipment,  the  new  Art  Reeves 
sinjjle- system  recorder,  shown  at 
left,  was  announced  this  month. 
The  device  is  adaptable  to  stand- 
ard Mitchell,  Bell  and  Howell,  or 
other  cameras  having  outside  type 
magazines. 

Where  previmis  units  of  this 
type  have  necessitated  cutting  an 
opening  in  the  camera  box  for 
insertion  of  the  glowtube  or 
galvanometer,  the  new  Reeves 
unit  is  contained  in  a  small  hous- 
ing placed  between  camera  head 
and  magazines.  Amplifier  and 
batteries  are  carried  in  two  small 
cases,  each  one  foot  square. 

A  special,  battery-poivered 
motor  is  used,  and  may  be  op- 
erated as  a  "wild"  motor,  as  a 
D-C  interlock  motor,  or  as  an 
automatic  speed-controlled  sound 
motor.  The  standard  Reeves 
"Line  -  O  -  Lite"  recording  glow- 
lamp  is  used.  The  film  move- 
ment and  frequency  range  are 
reported  comparable  to  the  well 
known  Reeves  double-system 
studio  recording. 


ing  to  their  respective  depths,  and  it 
was  soon  in  general  use. 

Professional  photographers  noticed 
that  the  new  emulsions  which  had  just 
been  made  available  not  only  gave  a 
better  rendering  of  all  colors — and  by 
this  very  fact  reduced  retouching  to  a 
minimum — but  that  it  also  had  the  ad- 
vantage of  shortening  exposures  in  arti- 
ficial light.  Panchromatic  emulsions 
also  revolutionized  cinematograph  studio 
technique. 

Amateurs,  for  their  part,  soon  recog- 
nized the  advantage  of  color  sensitive 
emulsions,  and  in  the  printing  and 
kindred  trades  panchromatic  emulsions 
became  extremely  valuable. 

Micro-photography,  aerial  photog- 
raphy, astronomical  photography,  and, 
generally  speaking,  all  the  sciences  that 
make  use  of  photography  in  their  re- 
search work  have  derived  a  considerabln 


measure  of  assistance  from  the  new 
materials. 

Photographing  292  Miles 

The  investigations  of  the  photographic 
industry  have  not,  however,  been  con- 
fined to  the  visible  spectrum.  After  the 
panchromatic  emulsions  new  emulsions 
sensitized  to  infra-red  rays  appeared, 
and  it  was  due  to  this  invention  that 
the  American  airman  Captain  Stevens 
was  able  to  photograph  the  Andes  over 
a  distance  of  292  miles.  The  photograph 
clearly  showed  the  earth's  curvature. 

This  wonderful  scientific  achievement 
established  everything  expected  of  the 
new  invention.  Since  then  research  has 
been  progressing  in  the  laboratories  of 
the  large  photographic  works  all  over 
the  world  with  a  view  to  sensitizing 
emulsions  for  the  specific  portions  of  the 
visible  spectrum. 


Great  strides  also  have  been  made  in 
the  manufacture  of  photographic  papers. 
When  roll  films  and  miniature-camera 
films  became  so  popular,  calling  as  they 
do  for  the  development  of  several  nega- 
tive at  a  time,  complications  immedi- 
ately appeared  in  the  positive  process, 
and  in  order  to  enable  the  amateur  to 
make  use  of  the  incorrectly  exposed 
negatives  a  range  of  contact  and  enlarg- 
ing papers  had  to  be  created  in  different 
grades  of  contrast. 

Thus  amateur  papers  were  produced 
in  three,  then  in  five,  and  finally  in 
seven  grades  of  contrast. 

The  introduction  of  automatic  print- 
ing machines  brought  with  it  the  thorny 
problem  of  stabilizing  all  the  character- 
i.stics  of  the  emulsion.  Then  the  chro- 
mium glazing  and  drying  machines 
appeared,  threatening  the  consistency  of 
tone  and  contrast  of  the  prints. 

These  problems  were  not  the  only  ones 
to  be  solved.  The  changing  taste  of  the 
public,  the  evolution  in  artistic  ideas,  all 
made  still  further  demands  on  the  photo- 
graphic industry,  and,  in  order  to  hold 
their  own  in  the  face  of  competition,  the 
manufacturers  of  photographic  materials 
found  themselves  compelled  continually 
to  turn  out  striking  new  products:  new 
surfaces,  papers  giving  entirely  new 
tones,  tinted  bases,  additional  grades, 
and  so  forth.  In  a  few  years  an  assort- 
ment of  papers  had  been  created  answer- 
ing the  most  varied  and  exacting 
requirements. 

Precision  Instruments 

It  will  readily  be  appreciated  that  so 
much  progress  could  only  be  achieved 
by  dint  of  a  thorough  reorganization  in 
all  working  methods. 

Thus  it  became  necessary  to  lay  down 
in  every  detail  whole  plants  to  deal  with 
the  new  requirements.  The  use  of  pre- 
cision instruments  soon  became  general 
for  testing  the  emulsions  and  the  raw 
materials  used  in  their  preparation.  Sen- 
sitometers  and  spectographs,  previously 
used  in  research  laboratories  alone,  were 
permanently  installed  in  the  testing 
laboratories.  Stalagmometers  (instru- 
ments to  measure  the  surface  tension), 
ionometers  (to  determine  the  pH),  mi- 
croscopes, and  many  other  precision 
instruments  every  day  render  invaluable 
services. 

T 

How  Danes  Spend  Theater 
Fees 

According  to  a  report  just  received 
from  the  office  of  the  Commercial  At- 
tache at  Copenhagen,  Danish  motion 
picture  theater  owners  paid  fees  total- 
ing Kr.  77,000  to  the  government  in 
1937.  Of  this  amount  Kr.  55,000  will  be 
divided  among  various  social  service 
organizations  and  Kr.  10,000  will  be  used 
to  produce  a  traffic  propaganda  film. 

The  surplus  of  the  Danish  film  cen- 
sor totaling  Kr.  87,000  for  1937  will  be 
distributed  as  follows:  Kr.  70,000  Danish 
Cultural  Film  for  the  production  of  an 
educational  film;  Kr.  10,000  for  a  propa- 
ganda film  showing  fire  preventive  mea- 
sures and  Kr.  7,000  for  a  film  about 
Danish  radium  stations. 


October,  1938    •    American  Cinematographer  405 


H€SS€RCOLOR 


c 


ORPORATION 


#  Telephone  Gladstone  0U\0 


EXECUTIVE  OFFICE:  SUITE  213  •  6605  HOLLYWOOD  BOULEVARD 
HOLLYWOOD,  CALIFORNIA 


August  28,  1938 


Mr.  George  Blaisdell, 
Editor 

American  Cinematographer, 
Hollyvifood,  Calif, 


Dear  Mr.  Blaisdell: 


I  thought  it  might  interest  you  to  know  that 


our  advertisement  in  the  American  Cinematographer  of 
natural  color  prints  from  Kodachrome  and  other  trans- 
parencies has  produced  more  results  than  has  our  advertise- 
ment in  any  other  photographic  magazine  to  date. 


The  fact  that  our  prices  are  higher  than  those 


advertised  by  most  other  concerns  would  indicate  that  your 
subscribers  must  be  both  discriminating  and  able  to  purchase 
product  of  genuine  quality. 


When  a  semi-technical  magazine  is  able  to  outdraw 


popular  publications  with  many  times  its  circulation  it  seems 
you  must  have  a  selective  clientele.     THAT  is  what  counts,  for 
ttiis  writer  would  rather  have  his  advertisement  read  by  a 
selective  group  which  can  afford  to  buy  than  by  a  multitude 
which  would  like  to  buy  but  which  unfortunately  for  all  of 
us  just  lacks  the  means. 


Cordially, 


KE3SKKC0L0R  CORPORATION, 


HH-L 


Hal  Hall, 

Assistant  to  the  President 


406     American  Cinematographer    •    October,  1938 


Three  ^  Color 


P 


rocess 


N 


ow 


Ready  to  Go 


THE  three-color  Dunningcolor  proc- 
ess, rumored  for  several  years,  is 
now  ready  for  general  use  accord- 
ing to  announcement  made  this  month 
by  Carroll  Dunning  of  the  Dunning 
Process  Company.  In  addition  to  the 
interest  inevitably  attaching  to  any  new 
contender  in  the  three-tone  color  field, 
Dunning's  announcement  reveals  inter- 
esting technical  and  economic  aspects 
together  with  a  radically  new  approach 
to  the  problem  of  handling  the  process- 
ing of  color  film  in  major  studio  volume. 

The  new  three-color  process  is  a  logi- 
cal outgrowth  of  Dunning  Process  Com- 
pany methods,  which  in  themselves  have 
been  proved  over  a  period  of  years  in 
commercial  use. 

Filtering  Overcomes  Weakness 

The  Dunning  three-color  camera  uses 
a  single  standard  Mitchell  or  Bell  & 
Howell  movement,  with  two  apertures, 
driven  from  a  common  camshaft. 
Through  one  aperture  runs  a  single 
super-panchromatic  film.  Through  the 
other  runs  a  standard  bipack. 

By  means  of  the  patented  Harrison 
multichrome  beam-splitting  unit  a 
Bausch  &  Lomb  "Raytar"  lens  produces 
the  two  necessary,  selectively  filtered 
images. 

A  notable  feature  of  the  three-color 
Dunning  camera  is  the  visual  color  bal- 
ance control  by  which  the  cinematogra- 
pher  is  enabled  to  adjust  the  filtering 
system  to  compensate  for  any  light  con- 
ditions. 

Filters  Graduated 

The  focusing  system  of  the  camera  re- 
combines  the  selectively  filtered  images 
produced  by  the  beam  splitter  and  gives 
a  single  image  on  the  ground  glass. 
The  filters  used  are  graduated.  They 
may  be  adjusted  instantly  at  any  time, 
to  suit  the  needs  of  any  given  scene. 

In  practice  a  reading  is  taken  on  a 
white  card.  If  the  lighting  conditions 
are  such  that  the  card  does  not  appear 
perfectly  white  on  the  ground  glass  the 
color  balance  control  is  manipulated  un- 
til the  filters  are  so  balanced  that  the 
card  appears  white  on  the  ground  glass. 
When  this  is  done  the  system  is  accu- 


rately balanced  to  the  conditions  in- 
volved. 

This  not  only  makes  it  possible  to 
compensate  for  variations  in  the  color  of 
natural  lighting  on  exterior  scenes,  but 
also  to  adjust  the  process  to  the  use  of 
any  type  of  artificial  lighting.  Either 
arc  or  incandescent  lighting  can  there- 
fore be  used  with  equal  success. 

However,  Dunning  points  out,  arc 
lighting  is  considerably  more  efficient 
for  any  type  of  natural  color  cinema- 
tography. Incandescent  light  sources,  as 
is  well  known,  emit  an  excess  of  red  and 
infra-red  light  which  must  be  absorbed 
by  filters  either  on  the  lamps  or  in  the 
camera,  and  thus  wasted. 

Modern  arcs,  on  the  other  hand,  give 
light  which  is  inherently  much  more 
closely  matched  to  the  natural  "day- 
light white"  standard,  resulting  in  a 
higher  proportion  of  usable  light  on 
the  set. 

Printing  Strictly  Photographic 

Printing  in  the  Dunningcolor  process 
is  a  strictly  photographic  operation. 
Standard  double-coated  positive  stock  is 
used,  two  images  being  printed  on  one 
side  of  the  film,  the  third  on  the  oppo- 
site side.  This  is  an  extension  of  meth- 
ods used  by  Dunning  for  several  years 
in  two-color  printing  of  both  35mm.  and 
16mm.  film. 

The  red  and  blue  images — the  two 
most  important  in  definition  —  are 
printed  together  on  the  front  surface  of 
the  film.  The  yellow  image,  which  has 
least  efl^ect  upon  definition,  is  printed  on 
the  rear  surface. 

These  operations,  Dunning  states,  can 
be  performed  in  any  black-and-white 
laboratory  with  only  a  minimum  of  spe- 
cial equipment.  This  makes  feasible 
Dunningcolor's  radically  new  method  of 
providing  laboratory  service  for  major 
studios. 

"In  the  past,"  declares  the  senior  Dun- 
ning, "color  processing,  and  especially 
color  printing,  has  been  an  exceedingly 
intricate  and  delicate  operation.  As 
such  it  was  necessary  that  all  process- 
ing of  films  photographed  by  any  color 
process  be  centralized  in  a  special  color 


Carroll  Dunning 

laboratory  controlled  not  by  the  pro- 
ducer, but  by  the  color  company. 

Laboratory  Simplicity 

"When  a  number  of  producers  use 
the  same  color  process,  this  necessitates 
intricate  scheduling  of  laboratory  work 
which  may  not  always  prove  convenient 
to  the  producer,  and  can  cause  expen- 
sive delays  in  production. 

"The  simplicity  of  the  new  three-color 
Dunningcolor  process,  while  still  requir- 
ing a  moderate  amount  of  special  equip- 
ment and  methods,  eliminates  the  need 
for  a  centralized  color  laboratory.  There- 
fore it  is  our  plan  to  have  Dunningcolor 
negative  processing  and  color  printing 
done  in  the  producers'  own  laboratories. 

"This  can  be  done  very  economically. 
Recently  experts  from  one  of  the  major 
studios  have  been  studying  our  process 
with  a  view  to  adopting  it.  One  of  their 
first  questions  was  as  to  the  cost  of 
installing  in  their  own  laboratory  color 
equipment  sufficient  to  give  them  what 
they  considered  adequate  capacity  for 
their  needs.    They  began  by  asking  us. 

"After  surveying  the  situation,  they 
ended  by  telling  us  what  they  knew  it 
would  cost  them.  By  their  own  figures 
color  machines  capable  of  handling  a 
substantial  yearly  output  of  color  posi- 
tive could  be  added  to  their  existing 
equipment  for  a  very  moderate  cost. 

"The  Dunning  Process  Company's 
present  laboratory  has  been  completely 
re-equipped  as  a  three-color  plant,  with 
an  annual  capacity  of  between  five  and 
six  million  feet  of  three-color  positive. 
This  plant  will  be  used  to  handle  com- 
mercial processing  of  advertising,  com- 
mercial and  cartoon  films. 

In  addition,  it  is  to  serve  as  a  model 
for  major  studio  laboratory  guidance 
and  as  a  research  laboratory  in  which 
the  process  will  be  constantly  improved. 
Due  to  its  use  for  commercial  process- 
ing, this  research  plant  will  not  con- 
(Contiued  on  Page  ^16) 


October,  1938 


•    American  Cinematographer  407 


M^R  Introduces  Duarc 

New  automatic  broadside 


ANNOUNCEMENT  of  a  new  twin- 
/A  arc  general  lighting  unit  by  the 
Mole-Richardson  Company  indi- 
cates continued  advancement  in  the  field 
of  arc  lighting  equipment.  The  unit  is 
known  as  the  Duarc.  It  replaces  the 
firm's  Side  Arc  introduced  less  than  five 
years  ago. 

The  latter  unit  was  the  first  piece  of 
modern  arc  lighting  equipment  developed 
to  meet  the  requirements  of  the  three- 
color  Technicolor  process,  and  was  re- 
garded as  a  revolutionary  advance  over 
the  twin-arc  broadsides  of  silent  picture 
days. 

The  Duarc  is  held  to  be  equally  revolu- 
tionary. Not  only  does  it  give  a  smoother 
and  almost  perfectly  flickerless  light  of 
high  intensity  but  it  solves  an  important 
production  problemi — that  of  delays 
while  the  many  Side  Arcs  and  overhead 
Scoops  are  retrimmed — by  an  excep- 
tionally long  burning  period. 

Fully  automatic  in  operation,  the  new 
lamp,  which  can  be  used  interchange- 
ably for  floor  or  overhead  lighting,  with 
reasonable  care,  can  be  burned  a  full 
working  day  on  one  or  two  trims  of 
carbon. 

To  attain  this  longer  burning  period 
and  more  uniform  light-flux  an  abrupt 
departure  from  traditional  design  was 
necessary.  Purely  mechanical  carbon 
feeds,  whether  continuous  or  intermit- 


tent, would  not  solve  the  problem;  for 
each  arc  must  be  fed  in  direct  propor- 
tion to  the  rate  at  which  its  carbons  were 
consumed.  Each  would  have  to  be  struck 
and  fed  individually. 

New  Mechanism  Developed 

To  meet  these  requirements,  an  en- 
tirely new  type  of  carbon-feed  mechan- 
ism has  been  developed.  In  the  Duarc 
these  mechanisms  are  in  duplicate. 
Though  electrically  interrelated,  each  arc 
having  an  individual  feed  mechanism, 
while  the  arcs  themselves  are  in  series. 

The  resistance  of  each  arc  gap  governs 
the  action  of  the  mechanism  feeding 
that  arc,  assuring  a  carbon  feed  directly 
proportioned  to  the  needs  of  the  arc. 

The  result  is  a  lamp  which  is  held  to 
be  the  longest-burning  and  most  nearly 
flickerless  twin-arc  broadside  unit  ever 
made.  The  Type  29  Side  Arc  which  the 
new  unit  supplants  had  a  miximum  burn- 
ing period  of  forty  minutes  without  re- 
trimming.  The  new  Duarc  will  burn  for 
slightly  over  two  hours  on  a  single  trim. 

Under  the  average  conditions  of  pro- 
duction, this  means  that  these  new  units 
can,  if  reasonable  care  is  used  in  switch- 
ing them  off  during  non-productive  peri- 
ods, be  burned  on  a  single  trim  for  a 
full  working  day  or,  at  most,  require  re- 
trimming  only  at  the  midday  break  for 
lunch. 

The  advantage  to  production,  especial- 
ly where  these  units  are  used  as  over- 
head floodlighting  units,  and  are  thus 
not  easily  accessible,  will  be  obvious. 

This  economical  feed  is  secured  by  a 
special  slow  speed  electric  motor  driving 
mechanism.  The  motors  turn  very  slow- 
ly, requiring  only  600  revolutions  com- 
pletely to  feed  the  average  trim  of  car- 
bons. The  design  is  such  that  the  car- 
bons are  burned  with  remarkable  effi- 
ciency, burning  down  to  stubs  less  than 
three  inches  in  length. 

Throw  Single  Switch 

The  same  mechanism  serves  as  an 
automatic  striker.  The  Duarc  is  turned 
on  as  easily  as  any  incandescent  unit. 
A  single  switch  is  thrown;  the  auto- 
matic striker  starts  the  arc  and  there- 
after maintains  it  at  optimum  efficiency 
until  the  trim  is  consumed  or  the  lamp 
turned  off.  Batteries  of  these  lamps  may 
be  operated  by  remote  control,  requiring 
virtually  no  attention. 


Front  view  of  Mole-Richardson's  new 
Duarc.  Note  new  single  pane  Pyrex  dif- 
fiiser  in  tight  fit  mount. 

Rear  view  of  new  Duarc.  This  new  twin- 
arc  unit,  which  has  burned  a  single  trim 
more  than  ZV-z  hours  tvithout  attention, 
can  he  used  interchangeably  as  a  broad- 
side or  overhead  unit. 


The  smoothly  automatic  feed  also  re- 
sults in  a  lamp  which  burns  almost  en- 
tirely without  flicker.  Only  the  most 
sensitive  photoelectric  recording  meters 
have  been  able  to  detect  any  irregulari- 
ties in  the  lightflux  of  the  new  Duarc. 
These  irregularities  are  not  sufficient  to 
be  visible  even  to  the  color  camera. 

The  reflecting  system  of  the  new  lamp 
is  an  efficient  shell  of  polished  metal, 
with  ample  openings  for  ventilation  and 
the  escape  of  fumes.  The  motors  and 
carbon  feeding  mechanism,  both  mechani- 
cal and  electrical,  are  placed  well  away 
from  the  arc  and  thoroughly  heat- 
insulated. 

So  carefully  have  ventilation  problems 
been  provided  for  in  this  design  that  the 
rear  door  of  the  housing,  which  gives  ac- 
cess to  the  mechanism,  is  screwed  shut 
and  need  seldom,  if  ever,  be  opened  on 
the  set. 

An  important  new  development  is  also 
noticeable  in  the  front  of  the  lamp.  As 
is  usual  with  all  modern  arc  units,  the 
light  is  filtered  through  an  ultra-violet 
absorbing  glass  window.  In  the  Duarc 
this  window  is  in  the  form  of  a  diffuser 
of  frosted  Pyrex  heat  resistant  glass. 
The  use  of  this  material,  new  for  such 
purposes,  brings  a  distinct  advantage. 

Mount  Diffuser  Closer  to  Lamp 

Being  heat  resisting,  the  diffuser  can 
be  made  in  one  piece  rather  than  in  the 
form  of  a  number  of  relatively  narrow 
strips.  This  gives  greater  efficiency  as 
a  diffuser  and  better  protection  from  the 
escape  of  ultra-violet  rays. 

(Contimied  on  Page  il6) 


408     American  Cinematographer    •    October,  1938 


Ingenious  Accessories  Simplify 
Making  of  Special  Effects  Shots 


Head,  of  Special  Effects  Department,  Universal  Studio 


THE  subject  of  accessory  equipment 
for  special  effects  cinematography 
has  seldom  been  given  much  dis- 
cussion. This  is  logical,  for  most  of  th<; 
accessories  of  this  type  were  developed 
individually,  to  meet  some  specific  need, 
and  then  accepted  into  daily  use  as  a 
matter  of  convenience.  In  consequence, 
most  special  effects  cinematographers 
have  become  so  accustomed  to  these 
devices  that  they  take  them  as  a  matter 
of  course. 

It  v^rould  appear,  however,  the  subject 
advantageously  could  be  brought  into  the 
open.  The  fundamental  methods  and 
equipment  used  in  the  various  special 
effects  processes  have  become  to  a  sur- 
prising extent  standardized.  Revolution- 
ary advances  can  hardly  be  expected. 

Detail  improvements  are  taking  place 
all  the  time,  to  the  end  that  special 
effects  scenes  may  be  made  either  more 
effectively  or  more  efficiently.  And  im- 
portant, if  unnoticed  among  these  detail 
improvements,  are  the  improvement  and 
innovations  in  accessories  which  enable 
the  men  on  the  set  to  do  their  work  with 
greater  facility. 

It  is  for  this  reason  that  I  take  the 
liberty  of  discussing  a  few  accessories 
which  we  have  for  some  time  been  using 
at  Universal.  Most  of  them  are  little 
things,  but  they  have  enabled  us  to  do 
commonplace  things  more  easily  or  to 
better  effect. 

One  of  the  most  common  difficulties 
of  projected  background  process  work  is 
the  problem  of  focusing  the  background 
projector  on  the  process  screen.  It  is 
difficult  for  the  projectionist  to  determine 
whether  or  not  his  picture  is  focused 
satisfactorily  for  the  composite  camera 
in  front  of  the  screen. 

Saver  of  Time 

Ordinarily  a  surprising  amount  of  time 
is  wasted  in  telephoning  back  and  forth 
from  the  set  to  the  booth,  to  get  the 
focus  adjusted  correctly. 

We  have  developed  an  electrical,  re- 
mote control  focusing  device  by  which 
the  projected  image  can  be  focused 
directly  by  the  crew  on  the  set.  It  is  a 
simple  little  mechanism.  A  small  electric 
motor  is  fitted  to  the  projector,  revolving 
the  focusing  mechanism  of  the  lens, 
which  it  drives  through  a  worm  gear. 

This  type  of  gear,  as  is  well  known, 
will  drive  a  spur  gear,  but  it  cannot  in 
turn  be  driven  by  the  spur  gear.  Thus 
the  lens  is  moved  only  when  the  motor 
operates;  as  soon  as  the  motor  stops  the 
system  is  locked. 


A  single  cable  leads  to  the  set,  where 
two  pudh  button  controls  are  provided: 
one  to  start  the  motor  forward  and  an- 
other to  reverse  it;  releasing  pressure  on 
either  button  stops  the  motor.  With  this 
control  in  his  hands,  the  cameraman  on 
the  set  quickly  and  easily  can  focus  the 
background  image  himself.  Since  the 
motor  is  a  light,  slow  speed  one,  it  does 
not  "coast"  and  alter  the  focus  after  the 
stop  button  is  pressed. 

Another  minor  problem  sometimes 
comes  when  making  process  shots  in 
which  the  actors  walk  in  front  of  a 
trucking  background  scene.  There  are 
none  too  many  really  good  treadmills 
available,  and  these  are  not  always  either 
convenient  or  precisely  controllable. 

For  such  shots  we  have  developed  a 
turntable.  It  is  simply  a  rotating  plat- 
form of  ample  size,  which  may  be  rotated 
as  desired  either  manually  or  by  a  vari- 
able speed  electric  motor. 

Creating  Shadows 

Naturally,  the  background  screen  may 
be  suspended  over  this  turntable  at  any 
desired  angle,  so  that  the  players  may 
walk  toward  the  camera  or  apparently 
across  the  screen.  The  turntable  is  com- 
pact, and  economical  of  stage  space;  it 
may  be  used  in  shots  where  the  use  of  a 
regular  treadmill  might  be  inconvenient. 
It  is  of  course  silent,  and  perfectly  con- 
trollable. 

A  similar  problem  comes  in  making 
such  shots  as  those  of  players  apparently 
inside  a  moving  automobile,  where  in 
addition  to  the  moving  background  on 
the  screen  the  effect  of  motion  is 
heightened  by  moving  lights  and  shadows 
— as  the  shadows  cast  by  trees  or  build- 
ings apparently  being  passed  by  the  car 
— cast  on  the  players.  This  is  of  course 
done  by  moving  cut-out  silhouettes  of 
the  desired  pattern  in  front  of  a  strong 
spotlight. 

Ordinarily  some  type  of  revolving 
drum  or  disc  is  used;  most  frequently, 
a  drum  revolved  completely  around  the 
lamp.  This  does  not  always  give  con- 
vincing variety,  and  is  also  somewhat 
cumbersome  and  inconvenient. 

Our  device  for  this  purpose  consists  of 
a  suitable,  wheeled  support,  adjustable 
for  height,  upon  which  are  mounted  two 
pairs  of  bicycle  wheels,  each  pair  being 
connected  by  an  endless,  flexible  belt.  To 
these  belts  may  be  fixed  any  desired 
number  of  clamps,  into  which  card- 
board cut-outs  of  the  desired  shapes  and 
sizes  may  be  clamped.  The  whole  device 
is  driven  silently,  by  a  reversible  motor. 


Any  necessary  speed  may  be  maintained 
consistently,  which  is  not  always  the  case 
with  manually  operated  devices. 

Flexibility  Appreciated 

The  flexibility  of  the  device  can  readily 
be  appreciated.  The  shadow  patterns 
easily  can  be  adjusted  to  suit  any  re- 
quired effect.  So,  too,  can  their  number, 
location  and  speed. 

The  effects  are  subject  to  infinite  vari- 
ation with  little  trouble  or  expense; 
actually,  we  generally  utilize  the  title 
department's  discarded  title  cards  for  our 
cut-outs. 

A  helpful  accessory  in  making  this  and 
many  other  types  of  special  effects  shots 
is  a  mounting  developed  for  an  H.I.  Arc 
spotlamp.  Atop  a  regular  lamp  tripod  we 
constructed  a  counterbalanced  crane  arm, 
at  the  outer  end  of  which  the  lamp  is 
carried. 

Not  only  does  this  permit  us  to  use  a 
spotlamp  in  position  where  we  could  not 
otherwise  do  so,  but  it  saves  time  much 
as  a  camera  dolly  does,  for  the  lamp 
can  often  be  moved  without  having  to 
move  the  entire  stand  or  a  bulky  parallel. 

For  background  shots  which  do  not 
require  exceptionally  large  screens — as 
for  example  scenes  in  a  closed  car,  or 
airplane — we  are  experimenting  with  the 
use  of  incandescent  lamps  instead  of  arcs 
in  the  projector.  We  have  built  a  lamp- 
house,  interchangeable  with  the  regular 
arc  lamphouse,  but  housing  instead  a 
2000-watt  projection  globe,  with  an  ap- 
propriate optical  system. 

The  screen  used  is  of  a  special  cellu- 
lose material  having  a  slightly  pinkish 
cast.  The  results  so  far  have  been  quite 
satisfactory,  and  the  use  of  incandescent 
rather  than  arc  light  for  these  small- 
screen  shots  should  result  in  a  saving  in 
carbons  and  in  the  time  spent  in  re- 
trimming  carbons. 

Our  latest  development,  which  we  hope 
to  have  in  use  by  the  time  this  is  printed, 
is  designed  to  eliminate  the  need  of  a 
bulky  projection  booth.  The  projector 
will,  instead,  be  carried  on  a  special 
wheeled  carriage,  somewhat  similar  to 
some  types  of  tricycle-type  rolling 
tripods. 

The  projection  head  itself  will  be  com- 
pletely blimped  in,  inclosed  in  a  compact 
metal  blimp,  sound-proofed  much  as  our 
camera  blimps  are.  The  lamphouse  will 
be  external,  and  movable  in  relation  to 
the  projection  head. 

(Continued  on  Page  HO) 


October,  1938    •    American  Cinematographer  409 


tLING  OF  FILMS 


EASTMAN  Super  X  Panchromatic  Negative 
reigns  supreme.  .  .  .  Not  by  virtue  of  fine 
grain  alone. . . .  Not  by  virtue  of  speed  alone. 
. . .  But  by  a  combination  of  those  qualities 
with  that  prime  requisite  of  the  fine  motion 
picture,  superb  and  dependable  photo- 
graphic quality.  Eastman  Kodak  Company, 
Rochester,  N.  Y.  (J.  E.  Brulatour,  Inc.,  Dis- 
tributors, Fort  Lee,  Chicago,  Hollywood.) 


EASTMAX  SUPER  X 

PANCHROMATIC  NEGATIVE 


410     American  Cinematographer    •    October,  1938 


r/it;  -lU'tv  Ahrams  aerial  camera  is  }iere  shoum  in  front  of  the  Explorer,  photo- 
graphic mapping  airplane  for  which  the  camera  was  especially  built.  Although 
the  camera  was  designed  to  take  advantage  of  the  high  speed  of  the  Explorer, 
it  may  be  used  in  any  type  of  plane. 


CAPTAIN  MULKEY,  U.S. A 
COMES  TO  STUDIOS 


THE  sixth  United  States  Army  of- 
ficer to  be  sent  to  Hollywood  to 
study  under  the  cooperative  officer 
training  program  carried  on  between 
the  War  Department  and  the  Research 
Council  of  the  Academy  of  Motion  Pic- 
ture Arts  and  Sciences,  Captain  Dwight 
L.  Mulkey  of  the  Signal  Corps,  arrived 
in  Hollywood  September  24  to  begin  his 
study  of  motion  picture  studio  production 
problems. 

Captain  Mulkey  is  a  graduate  of  West 
Point,  1928,  and  comes  to  Hollywood  di- 
rect from  a  several  months  tour  of  duty 
at  the  Signal  Corps  Photographic  Lab- 
oratory in  Washington.  Previous  to  that 
time  he  was  in  Panama  for  three  years. 

Captain  Mulkey  holds  a  master's  de- 
gree from  Yale  University,  and  has 
studied  as  a  student  officer  at  the  Roch- 
ester Athaneum  and  Mechanical  In- 
stitute. He  is  also  a  graduate  of  the 
Army  Signal  School  and  comes  to  Holly- 
wood well  grounded  in  engineering  and 
technical  theory. 

Major  Fred  W.  Hoorn,  the  first  of  the 
army  officers  to  receive  this  studio  train- 
ing, who  completed  his  course  in  1931, 
is  now  in  charge  of  an  army  training 
film  production  unit  at  Dayton,  Ohio, 
and  Major  M.  E.  Gilettee,  who  also  com- 
pleted a  course  of  training  under  the 
Academy's  direction,  is  in  charge  of  an- 
other field  unit  at  Fort  Monmouth,  N.  J. 

The  remaining  officers  who  have  pre- 
viously taken  this  training.  Captains 
Richard  T.  Schlosberg,  Charles  S.  Stod- 
ter  and  W.  W.  Jervey,  are  all  engaged 
in  the  production  of  army  training  film 
at  the  Signal  Corps  Photographic  Lab- 
oratories in  Washington. 

In  addition  to  spending  some  six 
months  in  the  studios,  studying  all 
phases  of  motion  picture  technique,  the 


training  course  includes  several  weeks 
study  of  the  various  types  of  motion 
picture  equipment.  The  first  two  weeks 
of  Captain  Mulkey's  stay  in  Hollywood 
will  be  spent  in  the  plants  of  the  East- 
man, Dupont  and  Agfa  Film  companies, 
studying  the  handling  of  the  various 
types  of  raw  stock  film  used  in  picture 
production,  followed  by  a  period  of  sev- 
eral weeks  to  be  spent  with  the  sound 
equipment  companies,  where  he  will 
learn  the  details  of  the  ERPI  and  RCA 
sound  systems. 

Organization  of  the  officer  training 
program  is  under  the  direction  of  Maior 
Nathan  Levinson,  vice  chairman  of  the 
Academy  Research  Council,  and  Gordon 
S.  Mitchell,  manager  of  the  Council. 
▼ 

Ingenious  Aids  Simplify 
Special  Effects 

(Continued  from  Page  AOS) 

An  unusual  feature  will  be  semi-auto- 
matic operation  of  the  projection  move- 
ment. This  can  be  controlled  either  by 
the  operator  at  the  projector  or  by  the 
crew  on  the  set.  In  addition  to  the  remote 
control  focusing  mechanism  already  in 
use,  it  will  incorporate  features  which 
make  it  unnecessary  to  touch  the  pro- 
jector once  the  film  is  threaded. 

The  crew  on  the  set  not  only  control 
its  normal  operation  but  are  able  to 
reverse  it  at  the  end  of  a  run,  eliminating 
the  usual  waits  for  rewinding  and  re- 
threading  the  film.  If  necessary,  tests 
can  be  run  while  the  film  is  rewinding. 

This  now  installation,  incidentally,  will 
bring  our  department  to  full  standard- 
ization of  movements.  Cameras,  optical 
printers  and  projectors  will  be  fitted 
with  interchangeable,  Bell  and  Howell 


type  pilot-pin  movements,  one  set  regis- 
tering on  an  upper  perforation,  the  other 
on  a  lower  one,  as  may  be  necessary. 
The  moving  parts  of  the.se  movements 
are  made  of  Dural  and  similar  light 
alloys,  minimizing  the  weight  of  moving 
parts. 

With  the  exception  of  this  latter  device, 
none  of  those  I  have  mentioned  can  be 
called  of  major  magnitude,  but  they  have 
proved  useful.  It  is  of  course  easy  to  see 
that  a  projector  which  minimizes  rewind- 
ing delays  and  which  can  be  controlled 
and  focused  from  in  front  of  the  screen 
will  be  a  valuable  improvement. 

The  other,  smaller  devices  are,  in  their 
way,  equally  helpful.  After  all,  the  main 
leason  for  the  existence  of  any  process 
work  is  that  it  enables  the  producer  to 
put  a  desired  effect  on  the  .screen  more 
easily  and  more  economically  than  he 
could  by  any  other  method.  Accessories 
that  simplify  or  expedite  the  work  of 
the  process  staff  certainly  aid  in  this, 
and  make  our  work  of  greater  value  to 
the  industry. 


Father  Hubbard  Makes 
Record  Filming 

(Continued  from  Page  J,02) 

tourists  in  Nome  as  the  Oberammergau 
of  the  Bering  Sea. 

With  the  sale  of  their  carvings  and 
the  extremely  pretty  and  comfortable 
slippers  made  by  the  women,  they  are 
able  to  earn  enough  money  to  buy  cloth- 
ing, tea,  flour,  sugar,  tobacco  and  other 
constantly  growing  needs.  Much  work 
can  be  found  in  Nome  during  the  sum- 
mer, and  in  winter  they  carve  their  ivory 
for  trade  with  merchants  of  Nome  or 
for  sale  on  the  boats  anchored  in  the 
roadstead. 

Hunt  TVTiite  Man's  Luxuries 

Whether  for  good  or  bad,  the  growing 
need  for  the  w^hite  man's  foods  and  com- 
forts now  necessitates  the  annual  migra- 
tion of  the  entire  population  to  Nome. 
In  several  huge  oomiaks  first  their  be- 
longings are  stored  and  when  only  a  few 
inches  of  freeboard  remain  thirty  or 
forty  people  pile  on  top  of  the  freight, 
and  leaving  their  dogs  to  fare  for  them- 
selves sail  ninety  odd  miles  to  Nome. 

The  remarkable  seaworthiness  of  these 
big  oomiaks  is  attested  by  the  fact  that 
in  all  these  decades  the  migrations  have 
been  made  no  boat  has  ever  been  wrecked 
and  no  lives  have  been  lost.  Now  in- 
stead of  paddles  and  sail,  they  use  the 
latest  Johnson  outboard  engine  and 
make  the  journey  in  half  the  time. 

Their  return  home  in  the  fall  is  just 
as  dramatic.  Men,  women  and  children, 
the  entire  population  of  King  Island, 
their  oomiaks  and  their  supplies  pile 
aboard  a  United  States  Coast  Guard  Cut- 
ter and  they  sail  home  in  the  best  style 
afforded  by  Uncle  Sam's  navy. 

Briefly,  this  is  the  story  of  King 
Island,  where  the  eleventh  Alaska  expe- 
dition of  Father  Bernard  R.  Hubbard, 
S.  J.,  went  on  location  to  impress  upon 
thousands  of  feet  of  film  the  fascinating 
"Cliff  Dwellers  of  the  Far  North." 


October,  1938    •    American  Cinematographer  411 


WATTER  THROWS  ISO^.AND  WHITE 


DEVELOPMENT  of  a  new  1000- 
watt  projection  lamp  that  deliv- 
ers 50  percent  more  light  on  the 
screen  than  the  present  standard  lamp 
of  like  wattage  is  announced  by  G-E's 
incandescent  lamp  department,  Nela 
Park,  Cleveland. 

Light  produced  by  the  new  source,  ac- 
cording to  the  Nela  engineers,  is  also 
appreciably  whiter.  This  dual  improve- 
ment in  quantity  and  quality  of  illumina- 
tion makes  possible  better  screening  of 
16mm.  movies  for  commercial,  educa- 
tional and  home  use.  The  improvement  is 
attributed  to  a  radical  change  in  the 
projection  lamp's  internal  construction 
and  to  burning  the  filament  at  higher 
temperatures. 

Permitting  the  projection  of  larger 
pictures,  the  new  lamp  broadens  the  use 
of  16mm.  projectors.  It  now  enables 
this  type  of  movie  equipment  to  show 
before  larger  audiences  than  has  hither- 
to been  possible. 

Producing  a  whiter  light,  the  new 
source  permits  more  faithful  reproduc- 
tion of  colored  pictures,  Nela  engineers 
said.  They  also  pointed  out  that  screen 
illumination  is  maintained  at  so  high  a 
percentage  of  initial  value  that  there  is 
no  need  for  the  inclusion  of  anti-black- 
ening  collector  grids  in  the  lamp's  in- 
ternal construction.  The  construction  is 
such  as  to  secure  a  high  degree  of  con- 
centration of  tungsten  deposit  at  the 
top  of  the  bulb. 

The  filament  is  notably  compact,  being 
no  larger  than  the  filament  of  the  pres- 
ent 750-watt  Mazda  projection  lamp. 

The  new  1000-watt  lamp  is  designed 
to  burn  base  down. 


Bury  Newsreel  to  Come  to 

Life  After  5,000  Years 

New  York,  Sept.  22 — The  first  archae- 
ological newsreel  ever  made — a  message 
from  today  to  unknown  audiences  of 
A.D.  6939 — has  just  been  completed  by 
RKO-Pathe  Pictures,  Inc.,  under  the  di- 
rection of  Allyn  Butterfield,  RKO-Pathe 
Editor. 

The  newsreel,  along  with  other  records 
and  objects  representative  of  the  present 
era,  will  be  buried  deep  in  the  earth  on 
the  site  of  the  New  York  World's  Fair 
1939,  in  the  5000-year  Westinghouse 
time  capsule. 

And  when  future  historians  dig  the 
time  capsule  out,  they  will  find  not  only 
the  newsreel,  but  complete  instructions 
for  building  a  projection  machine  with 
which  to  view  it.  If  they  succeed  in 
matching  the  machines  of  1938  the  news- 
reel  will  run  about  fifteen  minutes,  and 
the  audience  will  view  in  succession 
these  scenes  from  twentieth  century 
human  antics: 

Franklin  Delano  Roosevelt,  President 
of  the  United  States,  addressing  a  hand- 
ful of  Union  and  Confederate  veterans 
and  others  at  Gettysburg  on  the  occasion 
of  the  seventy-fith  anniversary  of  the 
celebrated  battle  of  that  name,  when 
Meade  turned  back  Lee  in  the  most  criti- 


cal hour  of  the  war  between  the  states. 
Howard  Hughes,  who  flew  around  the 
world  in  three  days,  nineteen  and  a 
quarter  hours,  in  July,  1938,  as  "Air 
Ambassador"  for  the  New  York  World's 
Fair  1939 — flying  over  New  York's  sky- 
scrapers, landing  at  Floyd  Bennett  Field, 
New  York  City,  on  his  return,  and  re- 
ceiving the  welcome  of  the  city  in  the 
traditional  tumultuous  Broadway  parade. 
Also  there  are  many  other  timely  and 
important  happenings. 

The  art  of  the  motion  picture  and  of 
photography  generally  receives  much 
attention.  The  entire  section  on  the  Mo- 
tion Picture  in  the  Encyclopaedia  Britan- 


nica  is  reproduced  in  the  micro-file; 
followed  by  the  Radio  City  Music  Hall 
program  for  the  picture  "You  Can't 
Take  It  With  You." 

In  the  more  than  two-score  magazines 
microfilmed  there  are  other  articles  and 
photographs  pertaining  to  the  industry 
and  its  principles,  and  to  photography. 


MOVIOLA 

FILM  EDITING  EQUIPMENT 

Used  in  Every  Maior  Studio 
Illustrated  Literature  on  request 

MOVIOLA  CO. 

1451  Gordon  St.  Hollywood,  Calif. 


EVERYTHING  PHOTOGRAPHIC 

FOR  PROFESSIONAL  AND  AMATEUR 

The  World's  Largest  Variety  of  Cameras  and  Projectors.  Studio  and 
Laboratory  Equipment  with  Latest  Improvements  as  Used  in  the 
Hollywood  Studios.    New  and  Used. 

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412     American  Cinematographer    •    October,  1938 


Americaii  Cameraineii 
Lead . » .  Pasternak 


By  Joseph  Pasternak 

Associate  Producer,  Universal  Studio 


M 


OST  of  us  here  in  Hollywood 
have  come  to  take  the  cinema- 
A  V  tographer  too  much  as  a  matter 
of  course.  We  have  become  so  accus- 
tomed to  the  fact  that  American  camera- 
men are  good  that  we  seldom  realize 
just  how  good  they  are. 

The  best  cure  for  this  attitude  is  the 
experience  of  making  even  one  produc- 
tion abroad.  Those  of  us  who  have  done 
so  invariably  have  returned  filled  with 
a  new  respect  for  the  men  who  wield 
Hollywood's  cameras. 

I  can  speak  from  experience  in  this. 
Before  coming  to  my  present  post  at 
the  New  Universal  I  spent  a  number  of 
years  producing  pictures  in  nearly  all 


of  Europe's  several  centers  of  produc- 
tion. Every  day  of  that  period  drove 
home  the  fact  that  nowhere  do  cinemat- 
ographic skill  and  artistry  reach  the 
peaks  they  do  every  day  in  Hollywood. 

Yet  all  might  very  probably  be  done 
on  the  same  day,  in  quick  succession. 
Moreover,  if  the  next  day  you  find  need 
for  a  retake  of  any  of  these  scenes,  your 
European  cameraman  will  give  you  still 
a  different  quality  in  the  retake! 

Cinematographers  in  this  country  may 
find  this  hard  to  believe,  but  it  is  a  fact. 
Moreover,  I  can  state  from  my  own  ex- 
perience that  when  one  pleads  with  the 
average  European  cameraman  for 
greater  consistency  the  answer  is  all  too 


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CALI  FORNIA 


Joseph  Pasterruik,  associate  producer 
under  contract  to  Universal. 

often  a  blank  stare.  He  may  be  willing 
and  eager  to  give  it  to  you,  but  the  fact 
remains  that  in  nine  cases  out  of  ten 
he  does  not  know  how! 

Here  in  Hollywood,  on  the  other  hand, 
we  take  it  as  a  matter  of  course  that 
any  cinematographer's  scenes  will  blend 
smoothly  with  each  other,  regardless  of 
whether  they  are  made  minutes  or  weeks 
apart.  We  know,  too,  that  our  camera- 
men can  and  do  rise  to  the  greatest 


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October,  1938    •    American  Cinematographer  413 


artistic  heights — and  sustain  this  in- 
spired camerawork  throughout  a  whole 
production. 

The  Europeans  know  it,  too.  Their  ad- 
miration for  the  technique  of  American 
films  is  boundless.  Their  technicians 
study  even  ordinary  American  produc- 
tions as  intently  as  art  students  study 
the  paintings  of  the  old  masters. 

Home  Talent  Okeh 

And  when  an  American  cinematog- 
rapher works  in  or  even  visits  a  foreign 
studio  his  very  appearance  creates  a 
sensation.  I  still  remember  how  excited 
everyone  was  when  Peverell  Marley, 
A.S.C.,  some  years  ago  made  a  produc- 
tion in  Budapest!  It  is  also  a  fact  that 
one  of  the  best  cameramen  in  Europe 
today  is  an  American,  Ted  Pahle. 

From  my  own  experience  on  both  sides 
of  the  Atlantic  I  can  say  that  while 
there  is  much  to  be  gained  from  bring- 
ing really  exceptional  European  players 
and  directors  to  America — as  for  in- 
stance Danielle  Darrieux  and  Henry 
Koster — I  am  opposed  to  the  idea  of 
importing  foreign  cinematographic 
talent.  Even  if  today's  acute  unemploy- 
ment problems  did  not  exist,  there 
would  be  nothing  to  be   gained  from 


'EYEMO    &  FILMO" 

FILTER  HOLDERS 

ALL  MODEL  EYEMOS  and  FILMO  model 
p  series  adapted  to  accommodate  gelatin 
filters  in  individual  metal  holders.  Position 
between  rear  of  lens  and  film.  One  filter 
serves   all  lenses. 

Patents  Pending 

National  Cine  Laboratories 

20-22  West  22nd  St.  Hew  York  City 

Ifjiimusl   Moliiin   ['idurr  Mirlianiial 
I  l.uhiiratoriis  in  llie  F.tul.  ■ 


COOKE  CINE  LENSES 

Cooke  lenses  will  give  you  crisp, 
extremely  sharp  definition 
throughout  the  entire  spectrum. 
Envisioning  future  demands, 
Cooke  lenses  have  always  sur- 
passed current  requirements. 
Focal  lengths  for  every  need. 
Write  for  descriptive  literature. 

BELL  &  HOWELL 

COMPANY 

Exclusive  World  Distributors  of 
Taylor- Hobson  Cooke  Cine  Lenses 
1848  Larchmont  Avenue,  Chicago 
New  York:  1 1  West  42d  Street 
Hollywood:  7 16  N.  LaBrea  Avenue 
Loodon:  13-14  Great  Castle  Street 


bringing  even  the  best  of  foreign  cam- 
eramen to  Hollywood. 

The  real  "aces"  have  come  here  and 
become  cinematographically  American- 
ized long  ago;  as  for  the  rest,  I  would 
not  hesitate  to  put  any  American  oper- 
ative cameraman  in  charge  of  my  pic- 
ture in  preference,  with  the  assurance 
the  American  operative  would  do  not 
merely  as  good  a  job  but  one  far  better! 

Working  with  America's  "ace"  cine- 
matographers  is  a  revelation  to  a  pro- 
ducer or  director  who  has  formerly 
worked  abroad.  Here  the  cameraman  is 
more  than  merely  a  dependable  artist- 
technician:  he  is  in  countless  other  ways 
an  important  part  of  the  active  produc- 
ing partnership. 

He  plays  fully  as  important  a  part 
in  telling  the  story  as  does  the  director 
or  producer.  The  American  cinematog- 
rapher does  far  more  than  simply  pro- 
viding beautiful  and  consistent  camera- 
work: he  makes  lens  and  lighting  play 
a  dominant,  if  subtle,  part  in  building 
emotional  effects. 

Let  Cameramen  Alone 

Whenever  an  executive  discusses  cam- 
eramen he  seems  expected  to  comment 
on  the  question  of  advancing  cinematog- 
raphers  to  directorships.  The  excellent 
records  made  by  various  men  who  at 
different  times  have  directed  certainly 
proves  that  cameramen  can  become  good 
directors;  but  much  as  I  like  to  see 
deserving   individuals   receive  advance- 


ment I  cannot  say  I  am  in  favor  of  the 
idea. 

After  all,  the  task  of  transferring  a 
production  from  set  to  celluloid  is  one 
which  deserves  the  full  energies  of  two 
specialized  artists:  the  director  of  action 
and  the  director  of  photography.  To 
obtain  the  best  results,  each  must  sup- 
plement the  other — one  thinking  in  terms 
of  dramatic  action  and  dialog;  the  other 
in  terms  of  dramatic  camera  angles  and 
lighting. 

Experience  several  times  has  proved 
that  where  either  of  these  artists  has 
attempted  to  divide  his  attention  between 
his  own  field  and  the  other  the  result- 
ing product  has  suffered,  as  has  the 
individual's  own  work. 

Cameraman  Advancing 

As  a  producer,  I  would  naturally  far 
rather  see  a  smooth  working  team  like 
Director  Henry  Koster  and  Cinematog- 
rapher Joseph  Valentine,  A.S.C.,  col- 
laborating on  a  production  than  to  see 
Valentine  directing — no  matter  how  bril- 
liantly— and  know  that  in  adding  one 
to  the  ranks  of  good  directors  we  had 
lost  a  really  great  cinematographic 
artist. 

I  believe,  on  the  other  hand,  that  our 
American  cameramen  have  so  far  ad- 
vanced both  their  work  and  themselves 
that  they  are  definitely  becoming  part- 
ners with  the  director  and  producer  in 
shaping  the  production.  Most  of  us  are 
so  close  to  this  gradual  change  in  the 


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414     American  ClNEMATOCRAPHEat    •    October,  1938 


status  of  the  cinematographer  that  we 
are  hardly  aware  of  it. 

But  consider:  Not  so  many  years  ago 
the  man  responsible  for  photographing 
a  picture  was  simply  the  cameraman — a 
rather  subordinate  technician  whose 
presence  was  necessary  largely  because 
pictures  had  to  be  photographed. 

Today  he  is  the  director  of  photog- 
raphy in  fact  as  well  as  name — a 
genuine  partner  in  planning  and  making 
the  production.  His  advice  is  courted  on 
many  questions  other  than  the  strictly 
technical  pi-oblems  of  production.  He  has 
become  the  ranking  specialist  in  trans- 
lating mood  and  drama  into  visual 
imagery. 

An  important  factor  in  this  develop- 
ment is  one  which  has  generally  gone 
unnoticed.  It  is  the  fact  that  the  public 
is  becoming  actively  photography-con- 
scious. The  millions  of  still  cameras  and 
home  movie  cameras  in  use  throughout 
this  country  and  the  mushroom  growth 


of  many  new  popular  photographic 
magazines  should  give  us  an  indication 
of  this  fact. 

But  to  most  of  us  it  comes  as  a  surprise 
when,  listening  to  audience  comments 
after  a  preview,  we  hear  the  audiences 
commenting  to  each  other  not,  as  they 
used  to,  about  the  charm  of  this  player 
or  the  personality  of  that,  but  about  the 
lighting  of  this  close-up,  the  filtering 
of  that  exterior,  or  the  smoothness  of 
that  dolly-shot. 

After  I  made  this  discovery,  I  re- 
ceived an  additional  surprise  when  I 
learned  about  the  sort  of  "fan-mail"  a 
cinematographer  of  Joe  Valentine's 
caliber  receives. 

In  volume  it  compares  more  than 
favorably  with  that  of  most  directors, 
and  in  studious  intelligence  it  probably 
exceeds  that  of  anyone  in  the  studio. 
Instead  of  the  conventional  "I-saw-your- 
last-picture-and-think-it-was-fine"  sort  of 
thing,  the  cameraman's  fan-mail  asks 


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intelligently,  "How  can  I  duplicate  this 
effect  you  had  in  your  picture  with  my 
IGmm.  camera?" 

Amateurs  Keen  Observers 

And  Joe  tells  me  the  amateur  films 
received  each  year  in  the  American 
Cinematographer's  International  Ama- 
teur Movie  Contest  show  that  the  ama- 
teur really  studies  professional  methods, 
and  puts  them  to  use  in  his  own  picture 
making. 

I  believe  the  next  step  in  this  growth 
of  the  cinematographer's  stature  is 
likely  to  come  with  color.  Sooner  or  later 
— probably  sooner  than  we  realize  today 
— color  is  going  to  be  the  thing  for  all 
important  productions. 

At  that  time  I  look  to  see  top  flight 
camera  artists  become  specialists  in 
color. 

In  a  word,  I  believe  cinematographers 
are  paralleling  the  evolution  of  directors. 
There  was  a  time  when  a  director  might 
make  a  "special"  this  month,  and  a  "B" 
picture  the  next.  Today,  we  know  it 
would  be  as  unwise  to  put  an  Archie 
Mayo,  a  Lubitsch,  a  Taurog,  a  Ludwig, 
or  a  DeMille  to  making  a  programme 
film  as  it  would  be  to  use  a  pile-driver 
for  cracking  nuts. 

The  day  is  coming  when  we  will  real- 
ize the  same  thing  is  true  about  our 
"ace"  cinematographers.  That  realiza- 
tion will  of  course  benefit  the  camera- 
man and  I  am  confident  it  will  be  of 
equal  benefit  to  the  industry  as  a  whole. 


Issue  Visual  Report 

Proceedings  of  the  Eighth  Session  of 
the  National  Conference  on  Visual  Edu- 
cation and  Film  Exhibition  contains  130 
pages,  6^/2x9  inches.  Reports  are  in  de- 
tail of  the  proceedings  of  this  year's 
confernce  together  with  transcripts  of 
addresses. 

The  country's  leading  visual  authori- 
ties attended  and  their  addresses  and 
discussions  are  faithfully  reported. 
"Commercials"  as  well  as  instructive 
films  are  discussed  and  applications  to 
classroom  use  reported. 


BUM  CHRISTITlflS  SEALS 

PROTECT-YOUR-HOME 
FROM  -TUBERCUUOSIS 


October,  1938    •    American  Cinematographer  415 


AMERICAN  ANNUAL  1939 
IS  BOOK  WORTH  HAVING 


EDITED  by  Frank  R.  Fraprie,  the 
American  Annual  of  Photography 
1939  was  issued  September  30  by 
the  American  Photographic  Publishing 
Company  of  Boston  and  Chapman  and 
Hall  Ltd.,  of  London.  The  book  con- 
tains 330  text  and  56  advertising  pages. 
The  price  is  81.50  paper  and  $2.25  cloth 
— and  well  is  worth  the  money. 

Right  off  the  bat  the  book  makes  good 
its  claim  as  a  photographic  publication 
by  devoting  ninety-six  continuous  pages 
to  its  section  of  salon  prints.  They  are 
from  the  world  around  and  from  the 
cameras  of  recognized  artists. 

There  is  a  wide  range  of  material  in 
the  twenty-five  or  more  articles.  One 
of  the  most  important  and  interesting 
as  well  to  this  reviewer  is  the  fourteen- 
page  illustrated  story  by  Fritiof  Fryxell 
around  the  career  of  the  ninety-five- 
year-old  William  H.  Jackson,  photog- 
rapher, artist,  explorer. 

The  second  paragraph  of  this  absorb- 
ing tale:  "It  seems  incredible  that  one 
lifetime  could  embrace  so  much  of  the 
history  of  photography.  William  H. 
Jackson  has  followed  the  science  through 
swiftly  changing  scenes  from  its  crude 
beginnings  in  the  daguerreotype  and  wet 
plate  processes  to  present  day  achieve- 
ments in  color  work  and  the  cinema. 
Throughout  he  has  been  a  pioneer  in 
the  unending  quest  for  improved  photo- 
graphic techniques  and  methods  and  in 
bringing  his  camera  in  advance  of  the 
throng  into  new  regions." 

Jackson  served  in  the  Civil  War,  and 
in  1866,  following  a  broken  engagement, 
he  started  west.  He  kept  going  until 
he  landed  in  Los  Angeles.  After  three 


Precision  Laboratory 
Equipment 

35mm  .  . .  16mm  .  . .  Color 

Developing  Machines  .  .  .  Optical  Printers 
.  .  .  Light  Testing  Machines  .  .  .  Continuous 
Printers  .  .  .  Registration  Step  Printers  .  .  . 
Color  Printers 

FRIED    CAMERA  CO. 

4156  Santa   Monica   Blvd.  Hollywood,  Calif. 

Cable  Address;  Friedcamco 


months  here  he  started  east  with  three 
other  adventurers  driving  150  wild  mus- 
tangs. This  sequence  ended  in  Julesburg, 
Colo.,  then  terminus  of  the  railroad. 

He  opened  a  photograph  "gallery"  in 
Omaha  in  1868.  From  that  year  until 
1880  he  "traveled  far  and  wide  over 
the  plains  and  plateaus  of  the  West," 
exploring  the  Rocky  Mountains,  secur- 
ing thousands  of  superb  wet  plate  nega- 
tives varying  in  size  from  stereoscopic 


dimensions  to  20  by  24  inches,  making 
photographic  history.  He  did  much  work 
for  the  Government.  But  space  forbids 
further  comment  here  on  this  remark- 
able story. 

Laurence  Dutton's  "The  Understand- 
ing and  Use  of  Filters"  is  another  out- 
standing story  and  runs  fourteen  pages. 
Eight  pages  are  devoted  to  Paul  L.  An- 
derson's "Rationale  of  Pictorial  Compo- 
sition," with  many  diagrams  to  illus- 
trate. 

The  foregoing  are  just  a  few  of 
the  highlights.  The  book  is  not  one  to 
read  and  let  go  out  of  your  possession. 
It  is  one  for  your  reading  table's  per- 
manent and  not  rotating  listing,  provided 
(Continued  on  Page  416) 


LIGHTING  NEWS  S^iM. 


ON   THE  SET 


EVERY  DAY 


RECORDS  FALL  TO  DUARC 

OLD  MARKS 
TOTTER 
BEFORE 
ISEW  CHAMP 

Continuing  its  record- 
brealiing  sweep,  Duarc, 
M-R's  new  twin-arc  en- 
durance champion,  this 
week  proved  its  mettle 
on  a  major-studio  Tech- 
nicolor set.  Working  on 
actual  production, 
Duarc  operated  a  full 
working  day  on  a  sin- 
gle trim  of  carbons, 
with  no  attention  or 
adjustment  other  than 
switching  oCF  between 
takes.  In  more  than 
thirty  years  that  movies 
have  been  filmed  under 
arcs,  no  twin  had  ap- 
proached this  record. 

Previous  twin-arc  en- 
durance mark,  estab- 
lished several  years  ago 
by  previous  M-R  twin, 
had  stood  at  40  minutes 
operation  between  re- 
trims.  Early  last  month 
Duarc  shattered  this 
record  with  a  sensa- 
tional run  of  2  hours, 
10  minutes  22  4/5  sec- 
onds under  ofiBcial 
timing. 

Insiders  point  to  this 
record  as  key  to  speed- 
ing up  color-film  lens- 
ing.  Ranking  high 
among  delays  of  color 
production,  they  say,  is 
time  spent  retrimming 
batteries  of  floor  and 
overhead  twin  -  arcs. 
Latter  especially  are 
often  inaccessible. 
Duarc,  able  to  operate 
without  trimming  for 
half  a  day  or  a  day 
speeds  production  no- 
ticeably. 


ISEW  CHAMPION  SILENT 

Duarc,  the  industry's  new  arc  endurance  champion  (above), 
remained  silent  today  despite  searching  quiz  by  star  reporters 
Mike  R.  O'Phone  and  R.  E.  Corder.  Pair  at  last  retired  baffled, 
admitting  they  were  unable  to  evoke  a  sound  from  the  brilliant 
new  champion. 


DUARCS  TO 
ISEW  YORK 


With  Hollywood  studios 
clamoring  for  services  of 
champion  Duarcs,  New 
York's  filmsters  have 
joined  the  demanding 
parade.  As  a  result,  a 
squad     of     Duracs  this 


DUARC  IS 
PRODUCT  OF 
MOLE. 

RICHARDSOIS 


DUARC  UP  FOR 
''WIZARD'' 


Several  MGM  techni- 
cians are  said  to  favor 
Duarc  for  role  of 
"Wizard  of  Oz."  One 
recently  pointed  out  that 
though    Duarc    made  no 


Duarc,  the  sensational 
new  twin-arc  endurance 
champion  is  the  newest 
product  of  MOLE- 
RICHARDSON 

COMPANY,    941  North   

^1       .    •     J  f      M         Sycamore  Avenue,  Holly-     ,  .     ,    .  ,  ,   •  ,  , 

week  entrained  for  Man-    ^^^^     California.    Prod-  *"  >ncreased  bright 

hattan,  where  they  will  ucts  of  the  firm,  which 
reinforce  Charles  Ross'  has  affiliates  or  dealers 
battallion  of  H.  I.  Arc  j"  London,  New  York 
Pans,  Bombay  and 
Cairo,  are  in  use  wher- 
ever motion  pictures  are 
made  throughout  the 
world. 


spots.  Side  Arcs  and 
Scoops  on  duty  brighten- 
ing Broadway's  Techni- 
color productions. 


ness,  he  obtained  better 
effects  with  it  at  8  feet 
than  with  previous  twins 
at  4  feet.  "If  that's  not 
wizardry,"  he  says,  "I'd 
like  to  know  what  is?" 


416     American  Cinematographer    •    October,  1938 


ART  REEVES 
SENSITESTER 

combines 

A  Light-Test  Machine  AND  a  Sensitometer 
Matches  any  Printer — any  Voltage  or  Cur- 
rent. The  Sensitometer  is  not  influenced 
by  Power  Variations. 

Metronome  Timing  and  Other  Unique 
Features  Insure  Laboratory  Accuracy. 

PRICE:    Complete  With  Ball-bearing  Rewinds  $950 


ART  REEVES 


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M-R  Introduces  Duarc 

(Continued  from  Page  iO?) 

For  the  same  reason,  and  also  be- 
cause of  the  better  ventilation  of  the 
new  unit,  this  diffuser  can  be  mounted 
closer  to  the  lamp.  Instead  of  being 
roughly  hung  over  the  front  of  the  unit 
the  diffuser  fits  in  a  rigid  aluminum 
frame  which  slides  window  wise  over 
the  front  of  the  lamp.  It  can  be  quickly 
slid  up  for  retrimming  the  carbons  and 
as  easily  be  replaced  or  supplemented 
with  additional  diffusing  media. 

The  designers  of  the  Duarc  have  made 
no  claim  for  increased  illumination  as 
compared  to  the  previous  Side  Arc.  It 
is  significant,  however,  that  cinema- 
tographers  who  have  used  the  new  lamps 
on  actual  production  report  that  with  the 
Duarc  at  eight  feet  from  the  subject 
they  obtain  more  usable  illumination 
than  they  did  with  the  previous  Side 
Arc  types  at  four  feet. 

The  new  unit  is  slightly  larger  than 
the  older  Side  Arcs,  but  forms  a  compact 
and  considerably  neater-appearing  unit. 
It  may  be  burned  in  almost  any  position, 
and  actually  supplants  two  previous 
types  of  equipment — the  Side  Arc  for 
floor  use,  and  the  Scoop  for  overhead  use. 

For  the  latter,  special  overhead  hang- 
ers, fitted  with  the  cuctomary  safety 
lock  chain  guards,  are  available.  For 
floor  use  a  new  pedestal  has  been  de- 
signed to  give  the  Duarc  an  unusual 


range  of  height  adjustments,  ranging 
from  a  minimum  of  4  feet  6  inches  from 
the  floor  up  to  a  maximum  of  8  feet. 


Dunning  Has  New  Color 
Process 

(Continued  from  Page  A06) 

stitute  a  drain  upon  the  producers  using 
Dunningcolor,  but  will  pay  its  own  way. 

Producers  on  Their  Own 

"Dunningcolor  will  thus  be  photo- 
graphed with  the  producers'  own  equip- 
ment, by  their  own  camera  crews,  and 
processed  in  their  own  laboratories.  The 
process  will  be  available  on  a  licensing 
basis  at  a  low  royalty  charge. 

"The  precise  cost  to  the  producer  will 
therefore  be  largely  dependent  upon  his 
own  laboratory  operating  costs,  which 
naturally  vary  from  studio  to  studio.  In 
general,  however,  the  cost  of  Dunning- 
color will  run  between  30  and  40  per 
cent  below  the  cost  of  any  existing 
three-color  process. 

"According  to  apparently  authentic 
published  statements,  the  present  cost 
of  three-color  negative  and  developing 
is  approximately  28 1^  cents  a  screen 
foot.  The  same  items  in  Dunningcolor 
will  cost  19  cents  a  screen  foot. 

"Another  important  factor  is  the  fact 
that  with  the  Dunningcolor  printing 
methods,  full  color  rush  prints  can  be 
turned  out  overnight,  and  at  the  same 
cost  as  release  prints,  as  against  the 


present  average  cost  of  12  cents  a  foot 
for  color  rushes." 

The  new  process  is  the  fruit  of  21 
years  of  color  research  by  Carroll  Dun- 
ning, aided  by  his  son  Dodge  Dunning 
and  recently  by  L.  E.  Clark,  who  some 
time  ago  resigned  as  chief  recording 
engineer  for  RCA  to  head  the  Dunning 
firm's  chemical  research  staff. 


American  Annual  Good 
Book  to  Have 

(Continued  from  Page  ^15) 

you  are  permitted  to  maintain  such  a 
provocative  collection. 

There  are  nineteen  pages  devoted  to 
recording  the  details  of  American  ama- 
teur photographic  societies  and  thirty- 
two  to  "Who's  Who  in  Pictorial  Photog- 
raphy." Ten  pages  are  given  over  to 
"American  Annual  Formulary." 


American  motion  picture  films  ac- 
counted for  more  than  half  of  the  165 
feature  length  films  reviewed  during  the 
first  half  of  the  current  year  by  the 
Film  Censorship  Bureau  of  Finland, 
according  to  a  report  from  the  American 
Consulate  at  Helsinki. 

Of  the  165  feature  length  films  92 
were  American.  Germany  accounted  for 
22  films  and  France  was  third  with  18 
films,  while  the  remaining  33  films  in- 
cluded 8  Finnish  and  25  other  foreign 
"features,"  the  report  states. 


You  can  say  it 
over  and 
over 
again 

EASTMAN 

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It  leads  the  entire  industry 
because 

its  performance 
is  faultless! 

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catalog.)  Filmosound  138  will  operate 


models  has  been  increased  as  much 
as  33%  as  a  result  of  the  B  &  H 
Magnilite  condenser  which  is  now 
standard  equipment. 

Unchanged  are  the  skilled  crafts- 
manship and  lifetime  materials 
which  have  made  Bell  &  Howell 
equipment  the  accepted  standard  of 
quality  for  a  generation.  Every 
model  offers,  as  heretofore,  bril- 
liant, flickerless,  steady  screen 
images.  Filmosound  models  pro- 
vide realistic,  full-range  sound 
reproduction,  for  they  utilize  the 
same  basic  patented  principles  as 
the  projectors  in  the  world's  lead- 
ing theaters. 

These  B  &  H  projectors  are  com- 
pact, portable,  and  easy  to  operate. 
Send  coupon  now  for  complete 
information.  Bell  &  Howell  Com- 
pany, Chicago,  New  York,  Holly- 
wood, London.  Established  1907- 


for  a  full  hour  without  rethreading  (at 
silent  speed),  and  permits  reverse  and 
still  projection.  Amplifier  output  has 
recently  been  doubled!  Write  for  catalog 
of  all  Filmosound  models,  including  the 
Filmoarc  for  largest  audiences. 


BELL  &  HOWELL 


FILMO  SILENT   16  MM.  PROJECTORS 

The  Filmo  S,  pictured,  provides  perfect  home  movie 
presentations,  now  costs  only  $125.  It  is  equipped  with 
a  500-watt  lamp  and  a  2-inch  F  2.1  lens,  accommodates 
400  feet  of  16  mm.  film,  provides  reverse  and  still  pro- 
jection controls,  and  many  other  features.  7  50-watt 
models  also  reduced  in  price.  See  price  list  below. 


HERE  ARE  THE  NEW  LOW  PRICES! 


Sound  Projectors 


Old  Price    New  Price 


Filmosound  1 38,  single-case   S385 

Filmosound  138,  two-case   410 

Filmosound  120   650 

Silent  Projectors 

Filmo  S,  500-wait   $147 

Filmo  ST,  750-watt   162 

Filmo  SU,  750-watt,  variable  resistance..  192 

Filmo  JJ,  7  50-watt,  fully  gear-driven.  ...  252 
Filmo  129-C,  750-watt,   1600-foot  film 

capacity   197 


$346 
369 
595 

$125 
139 
164 
242 

192 


SEND  COUPON  NOW' 


BELL  &  HOWELL  COMPANY  ac  io-3e 

1848  Larchmont  Avenue,  Chicago,  Illinois 

Please  send  catalog  describing  (  )  Filmo  16  mm.  Silent 
Projectors;  (  )  Filmosound  Projectors;  (  )  Filmo  8  mm. 
Projectors;  (  )  Silent  Library  Film  Catalog;  (  )  Sound 
Library  Film  Catalog. 


Name. 


Address  

City  State. 


AMERICAN  CINEMATOGRAPHER 
AMATEUR  MOVIES  SECTION 


YOU  NEED  A  GOOD  PARTNER 


RIGHT  now,  it's  time  to  start 
.  thinking  about  indoor  movies 
.  .  .  and  in  this  work,  the  best  partner 
you  can  have  is  Agfa  16  mm.  Fine- 
Grain  Superpan  Reversible  Film. 

Fine-Grain  Superpan  has  everything  to 
help  you  get  better  results  under  dif- 
ficult indoor  conditions.  It  has  un- 
usual speed,  is  fully  sensitive  to  all 
colors,  including  red,  and  its  wide 
latitude  helps  minimize  errors  in  ex- 
posure. 

Get  some  Superpan  today.  Be  sure  to 


use  it  for  your  next  indoor  sequences. 
You'll  be  delighted  with  the  depth, 
brilliance,  and  clear  detail  of  your 
projections.  You'll  be  surprised,  too, 
how  thisfilm's  fine-grain  emulsionand 
anti-halation  coating  permit  large-size 
projection  without  loss  of  sharpness. 

Agfa  16  mm.  Fine-Grain  Superpan  is 
available  in  100-foot  rolls  at  $7.50, 
and  in  50-foot  rolls  at  $4.00,  includ- 
ing processing  and  return  postage. 

Made  by  Agfa  Ansco  Corporation 
in  Binghamton,  New  York. 


October,  1938    •    American  Cinematographer  421 


AMATEUR  MOVIE 

SECTION 


SOCIETY 

OF  AMATEUR 

CINEMATOGRAPHERS 


BOARD  OF  REVIEW 

Victor  Milner,  President,  A.S.C.,  Director 
of  Photography  Paramount  Studios,  Acad- 
emy Award  Winner  1935 

Karl  Struss,  A.S.C.,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award 
Winner  1928. 

Fred  W.  Jackman,  Treasurer  American  So- 
ciety of  Cinematographers 

Dan  Clark,  A.S.C.,  Director  of  Photog- 
raphy Twentieth  Century-Fox 

Tony  Gaudio,  A.S.C.,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 
Award  Winner  1937 


Contents.... 

It  won't  be  long  now  422 

By  George  Blaisdell 

Hawaii  camera  paradise  of  the  Pacific.  .423 
By  John  W.  Boyle,  A.S.C. 

Eastman  issues  long  focus  f6.3  lens  of 


EKtar  series   423 

One  cine  dream  comes  true  427 

Filming  pigskin  battles  no  cinch  429 

By  George  Sherlock 

G-E  announces  change  in  its  exposure 
meter   435 

Preparing  small  car  for  chases  432 

By  Jack  V.  Wood,  S.A.C. 

Universal  issues  new  8mm.  model  453 

When  superimposing  titles  434 

By  Robert  W.  Teorey 

Make  show  cater  to  non-film  visitors.  . .  .437 
By  William  Stull 


422     American  Cinematographeb    •    October,  1938 


It  ^Won^t  Be  Loup  Now 


By  GEORGE  BLAISDELL 


THE  picture  that  adorns  this  page 
came  to  the  desk  of  the  editor 
just  as  the  baby  was  going  through 
the  throes  of  being  tucked  in  and 
kissed  good  night.  This  page  was  one 
of  the  less  than  half  dozen  still  out 
of  the  clutches  of  the  make-ups.  So  far 
as  this  writer  knows  it  is  the  first  photo- 
graph of  last  year's  International  Ama- 
teur Competition's  grand  prize  winner 
that  has  been  printed  here,  the  photo- 
graph of  James  A.  Sherlock  of  Sydney. 

As  this  issue  is  the  last  to  appear 
before  the  closing  of  the  1939  competi- 
tion it  seems  especially  fitting  to  hold 
up  the  works  long  enough  to  include 
the  photograph  in  this  month's  issue. 
And  that's  that. 

T 

CHARLES  LANG  Junior,  A.S.C., 
was  awarded  the  nod  by  the  Hol- 
lywood Poll  for  the  best  photog- 
raphy of  the  month.  The  subject  was 
Paramount's  "Spawn  of  the  North."  It 
is  a  picture  unique  in  many 
respects.  The  locale  of  the 
story  is  Alaska,  and  in  that 
country  many  thousand  feet  of 
film  were  exposed  perhaps  a 
hundred  thousand. 

The  production  is  a  techni- 
cal triumph  in  several  direc- 
tions. The  disintegration  of 
the  glaciers,  the  tumbling  into 
the  ocean  of  thousands  of  tons 
of  ice,  is  so  dangerous  to 
anything  in  the  way  of  craft, 
especially  smaller  or  ordinary 
sized  craft,  the  sequence  neces- 
sarily had  to  be  done  in  the 
studio  by  specially  trained  men. 

How  that  was  done  the  pic- 
ture shows.  It  is  terrifying 
in  its  realism.  But  the  illusion 
is  complete.  It  is  one  of  the 
finest  demonstrations  of  the 
importance  to  motion  pictures 
of  the  devices  that  have  been 
created  through  the  skill  and 
craftsmanship  of  cameramen, 
devices  really  a  thing  apart 
from  their  ordinary  work  of  Photo- 
graphing pictures. 

For  the  iceberg  sequence  Gordon  Jen- 
nings, A.S.C.,  is  given  credit.  Farciot 
Edouardt,  A.S.C.,  is  another  whose  work 
contributed  to  the  sum.  Then  there  were 
a  fourth  and  fifth,  those  who  headed 
the  camera  crew  that  went  to  Alaska — • 
Loyal  Griggs,  A.S.C.,  and  Frank  Good, 
A.S.C.  And  their  "stuff"  speaks  for 
itself. 

It  was  all-around  team  work,  the 
factor  that  makes  studios  great  in  their 
product.  It  need  not  be  construed  the 
great  quality  of  co-operating  aid  given 
to  the  production  made  it  any  easier  for 
the  director  of  photography.  It  made  it 
just  that  much  tougher.  And  Charlie 


Lang  met  the  issue,  met  it  by  matching 
in  less  spectacular  surroundings  the 
thrilling  work  of  his  mates. 

T 

THE  contract  of  C.  King  Chamey 
with  C.  King  Charney,  Inc.,  dis- 
tributors of  Agfa  Motion  Picture 
F'ilms,  the  expiration  date  of  which  was 
October  15,  1938,  has  been  amicably 
terminated. 

The  name  of  C.  King  Charney  Incor- 
porated will  be  changed  to  Agfa  Raw 
Film  Corporation  and  the  company  will 
continue  its  business  at  its  present  quar- 
ters in  Hollywood  at  6424  Santa  Monica 
Boulevard. 

V 

THE  Livingston  (Montana)  Enter- 
prise of  September  8  devotes  near- 
ly a  half  column  to  the  article  in 
the  September  issue  of  this  magazine 
by  Ormal  I.  Sprungman  outlining  his 
experiences  in  recording  rodeos  on  mo- 
tion picture  film.    It  just  happened  the 


pictures  later  released  through  March 
of  Time,  Charlie  Herbert  has  been  mak- 
ing Living.ston  his  home.  He  is  one 
of  that  militant  group  which  to  the 
four  corners  of  the  world  has  carried 
high  the  torch  of  A.S.C,  to  the  credit 
of  brother  members  at  home. 


o 


XE  of  the  signs  of  the  changing 
tendencies  among  amateur  mo- 
tion picture  filmers  was  noted  at 
the  annual  picnic  of  the  Los  Angeles 
8mm.  Club  this  last  month.  Several 
members,  possibly  a  half  dozen,  carried 
three  cords  about  their  necks.  On  two 
of  these,  of  course,  were  respectively  a 
motion  picture  camera  and  a  light  meter. 

The  third  was  a  still  camera.  In 
other  cases  still  cameras  were  hanging 
from  a  loop  and  the  movie  camera  was 
mounted  on  a  tripod  near  one  of  the 
central  tables  for  use  when  needed. 

Those  who  thus  are  triply  equipped 
are  prepared  to  take  care  of  almost  any 
eventuality  that  may  pop  up. 


I' 


H.  R. 

ciety; 
officer; 


Booth,  jy)-esident  Australian  Amateur  Cine  So- 
James  A.  Sherlock,  vice  president  and  publicity 
Fred  W.  Pratt,  vice  p^-esident  and  editor  Movie 
News;  photo  by  Member  Reg.  Perier. 


illustrations  adorning  the  article  in  ques- 
tion were  exposed  at  a  Livingston  round- 
up, as  pictures  in  the  story  revealed. 
Quite  apparently  Sprungman  and  Liv- 
ingston each  rate  high  in  the  other's 
estimation. 

Also  it  just  happened  that  on  an- 
other page  of  the  Enterprise  was  a  story 
describing  how  Charles  W.  Herbert, 
A.S.C,  with  a  still  camera  had  won 
for  himself  the  first  two  pages  of  the 
then  current  Look  magazine.  In  recent 
weeks  the  A.S.C.  man  has  been  taking 
pictures  in  and  around  the  Yellowstone 
Park  area,  of  dude  ranchers  and  animals 
among  other  attractions. 

Since  his  return  from  the  Orient, 
where  he  secured  many  stirring  motion 


N  a  letter  written  during 
the  past  month  to  George 
A.  Blair,  veteran  Eastman 
executive,  the  letter  closed, 
somewhat  querulously  possibly, 
to  the  effect  that  "Now  is 
the  summer  of  my  discontent 
...  if  the  mercury  does  not 
show  close  to  90  at  least 
these  days  we  wonder  what 
can  the  matter  be  .  .  ." 

In  the  course  of  an  answer, 
after  extending  his  best  wishes 
to  his  old  friend  John  Boyle, 
A.S.C,  Mr.  Blair  by  inference 
referred  to  the  paragraph  just 
quoted. 

"Between  the  heat  and  the 
doings  of  the  Legionnaires," 
his  letter  read,  "I  imagine 
Los  Angeles  must  be  a  real 
hot  spot  these  days.  Here 
in  the  Valley  of  the  Genesee 
the  days  are  filled  with  soft 
sunshine,  the  com  is  in  the 
shock,  the  pumpkins  are  ripe,  the  cider 
mills  are  turning  out  golden  fluid 
and  nature  is  gradually  painting  the 
landscape  with  indescribable  Autumn 
tints. 

"If  any  of  these  attractions  appeal  to 
you  I  should  be  delighted  to  have  you 
here  to  prove  their  reality  .  .  .  and  it 
would  be  a  pleasure  to  do  so." 

The  letter  was  dictated,  and  it  is  to 
be  presumed  without  particular  consider- 
ation as  to  form  or  style  or  rhythm — 
with  just  the  amount  of  care  bestowed 
upon  it  as  any  business  man  gives  to  his 
correspondence. 

Perhaps  readers  may  join  this  writer 
in  wondering  what  might  have  been 
(Continued  on  Page  ^26) 


October,  1938    •    American  Cinematographer  423 


HAWAII 
CAMERA 
PARADISE 
OF  THE 
PACIFIC 


Ij  John  W,  Boyle,  A,S.C, 


PItotogiaphs  by  Ira  B.  Hoke 


Sunset,  Waikiki  Beach. 


HAWAII  is  the  photographic  para- 
dise of  the  Pacific!  How  do  I 
know?  Well,  I  have  just  spent 
eight  weeks  over  there  .  .  .  shooting 
color,  35mm.  standard  bi-pack,  35mm. 
Leica  Kodachrome  and  16mm.  Koda- 
chrome.  On  the  20th  of  May,  Dodge 
Dunning,  Ira  Hoke  and  yours  truly  set 
sail  on  the  good  ship  Matsonia  Honolulu- 
bound,  to  produce  a  color  picture  of  the 
islands  for  the  Dunning  Process  Com- 
pany, to  be  exhibited  at  the  exposition 
in  San  Francisco  in  1939. 

There  are  plenty  of  photographic  op- 
portunities on  shipboard,  but  we  won't 
go  into  that — it's  been  covered  before — 
but  get  your  camera  ready  bright  and 
early  the  morning  of  arrival  .  .  .  assum- 
ing you  have  not  stayed  up  too  late  at 
the  captain's  dinner  the  night  before. 

The  first  impressions  of  the  islands 
are  always  worth  recording,  especially 
if  you  are  shooting  color.  Remember 
you  are  coming  from  the  east.  The 
light  is  a  three-quarter  front,  ideal  for 
either  black  and  white  or  color. 

Kodak  Service 

The  arrival  in  Honolulu  is  almost  as 
colorful  as  will  later  be  the  departure. 
Somehow  you'll  find  that  some  one  has 
heard  about  your  coming  and  you'll  dis- 
cover yourself  presented  with  a  colorful 
and  fragrant  lei. 

Another   mysterious   thing  has  hap- 

Pyramid  Point,  Mtmna  Lahilahi,  Island 
of  Oahii. 


pened.  Long  before  the  boat  actually 
has  been  docked  you  will  have  been  pre- 
sented with  a  cartographic  map  contain- 
ing exposure  scales  for  all  the  beauty 
spots  of  the  islands,  the  times  at  which 
these  should  be  photographed  for  the 
best  lighting  and  the  relative  exposure 


to  be  given,  good  for  professionals  as 
well  as  amateurs. 

This  super-service  is  due  to  the  en- 
terprise of  that  energetic  individual 
Fritz  Herman,  managing  director  of 
Eastman  Kodak  Stores  of  Hawaii,  Ltd. 
Fritz  has  made  a  careful  study  of  im- 


424     American  Cinematographer    •    October,  1938 


Kodak  camera  train  just  prior  to  de- 
parture from  HonolulM. 

portant  shots  needed  by  all  amateurs, 
with  the  consequence  real  results  may 
be  secured  with  a  minimum  of  effort. 

The  Waikiki  branch  is  in  charge  of 
our  old  friend  Bill  Sullivan,  who  with 
his  Hollywood  training  has  aided  Mr. 
Herman  in  injecting  showmanship  into 
the  selling  picture. 

Each  week  Eastman  Kodak  stages  a 
hula  dance  with  some  of  the  best  talent 
available  on  the  island — dancers  and 
singers  from  the  Royal  Hawaiian  and 
Moana  hotels.  The  location  is  ideal,  for 
it  contains  cocoanut  palms,  breaking 
surf  and  the  typical  South  Sea  Island 
atmosphere.  There  is  always  a  breeze, 
which  gives  added  life  or  movement  to 
photographs  or  films. 

The  "shooting"  is  so  organized  that 
16mm.,  8mm.  and  minicam  fans  all  are 
given  equal  chance  to  secure  shots.  In 
fact,  Eastman  has  a  portable  store  on 

Amateurs  snapping  shots  of  Kodak  hula 
dancers. 


October,  1938    •    American  Cinematographer  425 


the  location  so  you  may  replenish  your 
supply  if  necessary. 

My  advice  is  to  shoot  plenty  of  foot- 
age, for  you'll  get  much  pleasure  out 
of  running  these  films  for  years  to  come. 
Get  Phonograph  Records 

When  your  day's  shooting  is  over  get 
some  phonograph  records  of  the  music 
that  was  played  —  it's  all  available 
in  Honolulu — and  you  virtually  can  have 
a  sound  picture  when  you  get  home. 
Also  don't  fail  to  get  plenty  of  close- 
ups  and  you  will  have  fun  cutting  them 
in  to  synchronize  with  the  long  shots. 

Another  thrill:  Ask  Mr.  Sullivan  to 
arrange  for  your  being  "among  those 
present"  on  the  next  outrigger  film  trip. 
If  the  surf  is  running  high  enough  the 
beach  boys  will  organize  a  party  and  take 
its  members  out  strictly  for  "shooting 
surf  riders." 

The  big  outrigger  is  provided  with  an 
outboard  motor,  so  the  skipper  has  abso- 

Kodak  hula  dancers   perform  for  the 
amateurs. 


426      AMERICAN  CiNEMATOGRAPHER    •    October,  1938 


lute  control.  He  keeps  just  far  enough 
ahead  of  the  crest  of  the  wave  to  give 
you  a  swell  shot.  He  has  done  this  so 
often  he  will  even  tell  you  what  dia- 
phragm to  use  and  what  lens  gives  the 
best  effect. 

Invariably  the  skipper  maneuvers  his 
boat  so  that  you  hold  old  Diamond  Head 
in  the  background  all  the  time.  Thus 
there  is  no  mistaking  the  scene  was 
made  in  Honolulu. 

Better  wear  a  bathing  suit,  for  there 
is  quite  a  bit  of  spray  coming  in.  Either 
wrap  a  bath  towel  around  your  camera 
or  do  as  we  did.  You  see,  it  was  Sunday 
and  the  stores  were  closed. 

Lucky  Amateur 

We  went  to  the  lost  and  found  depart- 
ment of  the  hotel  and  secured  a  nice  red 
cellophane  raincoat.  This  is  hardly 
necessary  for  an  amateur,  the  lucky 
amateur  some  might  add,  but  it  must  be 
remembered  we  had  to  manage  a  big 
Mitchell  35  mm.  camera,  with  double 
magazines.  After  each  shot  better  in- 
spect your  lens  for  spray  and  clean  off 
any  you  may  find. 

The  thrill  of  the  ride  is  worth  the  price 
even  if  you  don't  get  a  picture.  Fifty  or 
a  hundred  feet  of  this  subject  make  a 
sequence  that  is  always  thrilling.  If  you 
come  away  without  it  you  always  will 
regret  it. 

The  rest  of  the  island  offers  pictures 
at  every  turn.  There  are  no  billboards 
or  handbill  throwers  in  the  Hawaiian 
Islands.  There  is  a  cleanliness  which  I 
wish  existed  on  the  mainland  .  .  .  and 
the  like  of  which  I  have  seen  only  in 
Scandinavia. 

Camera  Train 

The  liquid  sunshine  (rain  to  you)  is 
frequent  enough  to  keep  everything  fresh 
and  brilliant  with  just  the  right  amount 
of  life  to  the  color  surfaces. 

Once  each  month  Mr.  Herman  organ- 


izes what  is  known  as  the  "Camera 
Train,"  running  on  a  Sunday.  The  par- 
ticular occasion  which  this  writer  at- 
tended was  advertised  five  days  prior  to 
the  appointed  date  in  a  sixty-inch  ad  in 
the  Honolulu  Star-Bulletin. 

It  was  set  forth  a  110-mile  special  trip 
to  out-of-the-way  scenic  beauty  spots  of 
Oahu  would  be  made  for  SI. 10  round  trip. 
"All  amatuer  camera  fans  and  especially 
visitors  to  the  islands,  are  invited  to 
come,"  the  ad  stated  "Trains  will  stop 
at  all  'photogenic'  points.  You  will  have 
an  opportunity  to  shoot  the  Black  Lava 
Coast  of  Kaena  Point  .  .  .  acres  of  sugar 
cane,  banana  sisal  and  rice  will  keep 
shutters  clicking.  Come  and  join  the 
fun." 

The  Honolulu  Advertiser  of  the  fol- 
lowing morning  says  500  amateur  and 
professional  photographers  were  aboard 
the  train.  Where  originally  it  had  been 
deemed  five  cars  would  be  sufficient  to 
accommodate  those  who  cared  to  go 
there  were  fifteen  cars  on  the  line  when 
the  train  pulled  out. 

For  prints  that  are  left  at  the  Kodak 
stores  by  the  first  of  the  following  month 
the  one  decided  the  best  will  win  SIO. 
Three  other  prizes  of  $5  each  also  will  be 
given.  Only  professionals  and  photo- 
graphic store  employes  are  barred. 

Three  Other  Islands 

Besides  Oahu  there  are  three  other 
islands  that  offer  real  material.  These 
are  Kauai,  Hawaii  and  Mauai. 

On  Kauai  the  Waimea  Canyon  must 
be  photographed  in  color.  It  is  the  near- 
est thing  to  the  Grand  Canyon  I  have 
seen.  Although  it  might  be  raining  when 
you  get  to  the  summit  it  is  worth  wait- 
ing an  hour  or  so  for  a  break  in  the 
light. 

Just  a  few  patches  of  bright  sunlight, 
here  and  there,  with  the  everprevailing 
cloud  shadows,  will  give  you  a  stereo- 
scopic effect.  All  of  our  shots  were  made 


between  12  and  1  midday  and  turned  out 
excellently. 

At  the  crater  of  Kilauea,  on  the  island 
of  Hawaii,  there  is  always  steam  escap- 
ing or  some  activity.  If  you  visit  the 
extinct  crater  of  Haleakala  on  the  island 
of  Mauai  get  up  there  for  sunrise,  but 
take  plenty  of  warm  clothes.  It  is  10,00() 
feet  at  the  summit.  It  was  so  cold  when 
we  were  up  there  in  June  we  had  to 
build  a  fire  and  heat  the  camera  in  order 
to  induce  the  motor  to  turn  over  the 
gears. 

Eastman  Issues  Long  Focus 
16.3  Lens  of  EKtar  Series 

UNPARALLELED  correction  for 
lateral  as  well  as  longitudinal 
color  is  claimed  for  a  new  long- 
focus  lens  of  the  famed  EKtar  series, 
just  announced  from  Rochester  by  East- 
man. 

The  new  lens,  an  Eastman  anastigmat 
EKtar  f.6.3  of  14-inch  focal  length,  is 
designed  for  users  of  commercial  and 
view  cameras  who  require  a  lens  "un- 
equaled  for  the  making  of  color  separa- 
tion negatives  in  accurate  register."  It 
is  held  to  solve  the  problem  of  photogra- 
phers whose  present  "color-corrected" 
lenses  are  unable  to  produce  color- 
separations  that  will  superimpose  prop- 
erly. 

"Special  attention,"  the  announce- 
ment states,  "has  been  given  to  the  cor- 
rection of  lateral  color  which  is  par- 
ticularly important  in  the  making  of 
color  separation  negatives.  Numbered 
test  plates  are  made  with  each  lens  and 
filed  for  reference." 

The  14-inch  Eastman  Anastigmat 
EKtar  f.6.3  lens  is  mounted  in  a  new 
type  light  weight  all  aluminum  barrel 
with  "click"  stops  for  positive  dia- 
phragm operation.  Its  wide  coverage,  the 
announcement  states,  allows  full  use  of 
the  adjustable  front  and  back  of  8  by 
10  cameras.  For  protection  against 
damage  a  sturdy  velvet  lined  box  and 
two  lens  caps,  front  and  back,  are  sup- 
plied with  each  lens.  Mounted  in  all- 
aluminum  barrel,  with  lens  caps  and 
protective  box,  the  Eastman  anastigmat 
EKtar  f.6.3  lens,  14-inch,  is  priced  at 
$175. 


It  Won't  Be  Long  Now 

(Continued  from  Page  i22) 

brought  forth  if  George  Blair  had  slipped 
into  the  family  armchair  with  pad  and 
pencil  and  in  complete  relaxation  in 
writing  had  di'eamed  of  the  glories  of 
the  Valley  of  the  Genesee. 

But  George  Blair  first  of  all  is  a  sales- 
man— whether  it  be  merchandise  or  his 
homeland.  The  quality  of  the  former  is 
known  of  all  men.  The  beauty  of  the 
latter  is  known  to  many  .  .  .  and  this 
writer  has  personally  witnessed  the  rural 
charms  so  engagingly  painted  with  so 
deft  a  brush.  It  ain't  right  for  a  man 
to  be  obliged  to  pass  up  an  invitation  like 
that. 

Bill   Sullivan,   manager   of   Kodak  at 
Waikiki,  and  his  hvla  dance  troupe. 


October,  1938 


American  Cinematographer  427 


ne  cine  dream  comes  true 


After  two  years^  planning  and  toil 


DOWN  in  Bournemouth  on  the  English  Channel,  a  hun- 
dred miles  southwest  of  London,  where  Stratford  on 
Avon  is  a  parallel  distance  to  the  northwest,  J.  P.  J. 
Chapman,  A.R.P.S.,  F.R.S.A.,  has  created  a  real  theater  in  his 
home.  From  an  examination  of  the  planning  and  execution 
indicated  in  the  excellent  illustrations  it  is  a  logical  step  to 
the  conclusion  that  here  is  the  cinematographer's  dream 
come  true. 

Some  time  since  word  trickled  back  to  the  West  Coast 
across  the  six  thousand  odd  miles  separating  Bournemouth 
and  Hollywood  that  the  master  of  The  Huon,  in  Branksome 
Hill  Road,  was  doing  something  extremely  remote  from  a 
theatrical  way  but  certainly  very  much  in  a  theater  way. 

He  also  was  doing  something  in  a  substantial  and  a  con- 
structive way — and  doing  a  lot  of  it  with  his  own  hands. 
That  after  all  is  a  good  yardstick  by  which  to  register  the 
measure  of  a  man's  enthusiasm,  the  depth  to  which  the 
bug  fotografico  has  sunk  his  fangs,  and  over  and  above 
these  the  degree  the  builder  has  attained  in  learning,  or 
knowledge  if  you  will,  regarding  showing  a  picture  after 
you  have  created  one — and  to  place  the  factors  that  aid  in 
showing  it. 

Two  Years  in  Making 

The  first  question  likely  to  be  asked  by  the  cine  enthusi- 
ast will  be  the  expense  involved  in  the  building  of  the 
theater.  It  is  the  opinion  of  the  owner  that  had  the  improve- 
ment been  made  in  orthodox  style,  by  means  of  architects 
and  contractors,  the  cost  would  have  been  about  $4000. 
Done  in  the  manner  adopted  by  Mr.  Chapman  less  than  a 
quarter  of  that  sum  went  far  to  its  accomplishment. 

The  below  ground  room  which  was  converted  to  the  the- 
ater is  approximately  15  by  23  feet  in  dimensions.  The 
builder  devoted  two  years  to  making  the  changes  in  the 
conversion  of  this  little  used  room  into  a  pocket  theater 
with  its  three  rows  of  five  seats  each,  every  one  of  which 
rates  as  loge  to  the  initiated. 

The  ceiling  is  triple  Masonite  packed  with  sawdust.  The 
proscenium  also  is  Masonite,  while  the  screen  is  a  non- 
warping  Masonite  laminated  girder  construction  sprayed 
silver.  The  walls  are  of  rough  surface  composed  of  plaster 
and  sawdust  and  are  highly  sound  absorbent. 

The  large  light  bowl  in  the  center  was  cast  in  a  sandbox, 
is  4  feet  6  inches  across  and  1  foot  6  inches  deep.  It  weighs 
150  pounds  and  is  held  by  a  metal  spider  to  the  joists. 

Equable  Temperature 

The  ventilation  consists  of  a  shaft  to  the  open  air,  through 
which  air  is  sucked  by  way  of  a  heavy  mat  of  steel  wool 
soaked  in  non-odorous  oil.  This  is  then  driven  over  thermo- 
statically controlled  heaters,  which  will  maintain  the  room 
at  60  degrees  F.  The  air  temperature  does  not  rise  much 
above  this  unless  the  outside  air  is  above  70  degrees  F.  as 
the  vacuum  on  the  filter  creates  a  fall.  Sufficient  space  is 
provided  for  this  between  the  twin  fans. 

The  air  exit  in  the  room  is  protected  by  a  fine  mesh 
screen  preventing  the  ingress  of  insects,  such  as  spiders. 
Provision  is  made  for  safety,  if  the  outside  air  is  shut  off, 
so  that  a  hot  pocket  cannot  be  produced  by  non-circulation 
if  the  heaters  be  switched  on.  Coyitinued  on  Page  UhO. 

Top,  jyrojection  room,  with  some  equipment  yet  to  come. 
Center,  projection  ports,  tip-up  seats  and  fireplace — and  in- 
asmuch as  Bournemouth  tops  Los  Angeles,  for  instance, 
some  eleven  or  twelve  hundred  miles  in  latitude,  that  fire- 
place looks  just  that  more  interesting.  Lower,  screen  and 
some  of  the  seats,  with  a  view  of  the  150-pound  light  bowl. 


428     American  Cinematographejr    •    October,  1938 


A  CAMERA 
IS  NO  BETTER 
THAN  THE 
MOVIES 
IT  MAKES 


T 


HE  designers  of  Cine-Kodak  Special  have  built 
into  one  compact  machine  every  refinement  neces- 
sary to  the  making  of  16  mm.  movies — "profes- 
sional" in  scope,  strictly  "amateur"  in  ease  of  at- 
tainment. Fades,  dissolves,  double  and  multiple 
exposures,  spring  motor  drive  or  hand  cranking, 
animation,  mask  shots,  interchangeable  lenses  for 
a  double-lens  turret,  ground-glass  focusing,  inter- 
changeable 100-  or  200-foot  film  chambers,  auto- 
matic footage  indicators,  individual  film  foot 
meter,  single  frame  counter — these  are  some  of  its 
many  unusual  features. 

Yet,  despite  the  unparalleled  versatility  of  the 
"Special,"  so  many  and  so  varied  are  the  tasks  to 
which  it  is  put  that  its  users — advanced  amateurs, 
physicists,  engineers,  doctors,  biologists,  visual 
educators,  athletic  instructors — have  frequently 
requested  special  apparatus  to  enable  them  to  go 


even  further  in  their  work.  Most  of  these  devices 
obviously  could  not  be  properly  added  to  the  basic 
model.  So  they  have  been  designed  and  offered  as 
accessories:  a  lens  extension  tube  outfit  for  almost 
microscopic  magnification;  three  different  electric 
motors  for  automatic  or  remote  control  exposures; 
an  electric  release  control  outfit,  battery  operated, 
for  growth  studies  and  other  time-lapse  filming — - 
to  mention  but  a  few  in  this  limited  space.  And 
other  devices  will  be  made  when,  and  if,  necessary. 

//  this  sounds  like  the  camera  you  need  to  lift  your 
film  efforts  to  the  plane  where  they  he- 
long,  ask  your  dealer  about  Cine- 
Kodak  Special,  or  write  Rochester 
for  the  full  story— ''THE  STORY 
OF  THE  WORLD'S  FINEST 
16  MM.  MOVIE  CAMERA." 


^^^^ 


EASTMAN    K  O  D  A  K    C  O  M  PA  N  Y,    ROCHESTER,    N  .  Y. 


October,  1938    •    American  Cinematographer  429 


FILMING 
PIGSKIN 
BATTLE 
NO  CINCH 


)y  iareorge 


Official  Cinematographer  Athletic  Department, 
University  Southern  Califoi~nia 


AS  each  football  season  rolls  around 
football-minded  friends  slap  my 
■•back  and  say  to  me:  "What  a 
lucky  man  you  are,  George!  You  get  to 
see  all  the  University  of  Southern  Cali- 
fornia's football  games — and  get  paid 
for  it!" 

True  enough,  it  is  my  job  to  film  all 
the  Trojan  team's  games  in  16mm.  slow- 
motion  Kodachrome  movies  for  the  Ath- 
letic department  of  the  University  of 
Southern  California.  But  my  friends  are 
wrong  on  one  point.  I  NEVER  REALLY 
SEE  THE  GAMES!  Often,  I  hardly 
even  know  which  team  won,  nor  by  what 
score,  until  I  get  home  afterward  and 
pick  up  my  newspaper! 

During  the  actual  game  I'm  much  too 
busy  to  think  of  anything  but  cinema- 
tography. There  is  no  time  to  think  of 
the  play  as  anything  other  than  a  prob- 
lem in  camerawork.  Filming  a  fast- 
moving,  deceptive  sport  like  this  you've 
got  to  keep  your  mind  on  the  camera. 

Let  your  mind  wander  for  a  moment 
and — zip — you've  missed  a  play!  Proba- 
bly an  important  one.  Do  that  only  a 
few  times,  and  you'll  find  somebody  else 
shooting  the  game,  while  you  cool  your 
heels  beside  the  family  radio. 

A  couple  of  years  ago  I  had  an  assist- 
ant. He  was  a  capable,  studio-trained 
man  who  could  probably  remain  cool  as 
a  cucumber  while  Hedy  Lamarr  went 
through  the  most  ardent  of  scenes.  B'ut 
he  was  a  football  fan,  and  I  quickly 
learned  I  couldn't  use  him.  Right  in 
the  middle  of  what  I  suppose  was  an  ex- 
citing moment,  he  was  so  overcome  with 
football  fervor  that  he  dropped  his 
camera  and  started  to  cheer. 

Missed  Shot 

Worse  yet,  he  began  waving  his  arms 
like  a  cheer-leader — and  nearly  knocked 
me  and  my  camera  over!  I  had  a  great 
time  explaining  why  I  missed  that  key 


shot  in  which  U.S.C.'s  opponent  got 
away  for  a  long  gain. 

Why  does  Coach  Jones  have  me  make 
movies  of  all  his  team's  games?  Well, 
it  is  not,  as  some  people  think,  so  that 
he  can  study  the  play  of  the  opposing 
team.  By  the  time  a  game  has  been 
filmed  it's  too  late  to  do  much  about 
that  particular  opponent — and  next  year 
the  opposing  coach  may  come  up  with  a 
flock  of  new  players,  and  new  plays  too. 

But  slow-motion  movies  are  one  of 
the  best  possible  methods  of  studying 
your  own  team.    The  camera  reveals  in- 


numerable little  faults  in  both  individual 
and  team  play  which  could  never  other- 
wise be  detected. 

So  as  soon  as  the  film  is  processed  and 
cut  the  Trojan  players  have  an  inten- 
sive session  of  screen  study.  Watching 
themselves  in  slow  motion,  the  players 
can  see  what  each  did  that  was  right 
and  what  was  wrong. 

So  can  the  coaches!  On  the  field  if  a 
player  fails  to  take  out  his  man  as 
planned,  or  doesn't  get  down  to  receive 
a  pass,  only  the  negative  fact  that  he 
didn't  perform  his  assignment  is  evi- 


Left,  The  author  and  his  crew  at  work  filming  the  1938  Southern  California-Alabama  game.  Right,  George  Sherlock  and  hift 

Cine  Special.  (All  photographs  by  William  Stidl,  A.S.C.) 


430     American  CrNEMATOGRAPHER    •    October,  1938 


Coaches  want  picturea  that  show  the  whole  play,  rather  than  close-ups  of  individual  players.  These  shots  of  the  game 
between  Southern  California  (dark  jerseys)  and  Alabama  were  made  using  135mm.  lens  in  a  Contax,  with  exposures  of 

1/500  second  at  f  :11  on  Agfa  Supreme  negative. 


dent.  On  the  screen  it  is  usually  possi- 
ble to  discover  why  he  didn't — and  to 
correct  the  fault. 

Cool  Head  Imperative 

So  it's  easy  to  see  why  a  cameraman 
must  keep  his  brains  "on  ice"  to  fulfill 
such  an  assignment  successfully.  We 
film  every  play  from  start  to  finish,  and 
I  can  assure  you  it  often  takes  quick 
thinking  to  forecast  where  the  play  is 
going  to  go. 

As  a  rule  I  know  no  more  about  South- 
ern California's  plays  than  the  opposing 
players  do  (sometimes  less!)  and  while 
the  play  is  meant  to  fool  the  opponents 
it  isn't  considered  good  form  for  the 
team's  own  cameraman  to  let  himself  be 
fooled,  too! 

Completely  covering  such  an  assign- 
ment calls  for  a  lot  of  equipment  and 
plenty  of  first-class,  level-headed  help. 
For  the  past  several  years  I've  used  two 
Eastman  Cine-Kodak  Specials — one  to 
shoot — the  other  as  a  stand-by  camera 
in  case  of  emergencies. 

The  Special  is  by  long  odds  the  ideal 
camera  for  this  work.  The  interchange- 
able magazines  speed  up  reloading  tre- 
mendously. While  I  am  shooting  with 
one  magazine  my  assistant  can  be  re- 
loading another.  When  I  get  dovm  to 
the  end  cf  my  roll  I  simply  slip  off  the 
magazine  and  replace  it  with  a  fresh  one. 

Then  the  assistant,  with  a  special  re- 
winding box  we've  had  made,  runs  off  the 
trailirg  leader  of  the  exposed  roll,  re- 
loads, and  runs  through  the  leader  of  a 
new  roll. 

Using  half-a-dozen  magazines  you 
krow  that  even  with  two  or  three  cam- 
eras goirg,  there  always  will  be  a  freshly 
loaded  magazine  ready  to  use  when  you 
need  it. 

Use  48  Frame  Speed 

T  -ri  den  tally,  while  the  newsreel  boys 
f   ■■>  u  -  telephotos  to  give  them  ex- 
'^-r  c^ne-ups  of  some  individual  star 
y  r.  I  never  do.    My  business  is  to 


show  the  team  as  a  whole.  The  lenses 
mentioned  give  me  a  good,  full-screen 
shot  of  the  entire  scrimmage  (both 
teams)  with  the  general  exception  of  a 
defensive  back  playing  the  safety  posi- 
tion. 

As  I've  said,  we  shoot  all  our  games 
in  slow  motion.  But  we  don't  need  to 
use  the  expensive  64 -frame- a -second 
speed.  Instead,  48-frame  speed  is  quite 
adequate.  It  uses  less  film,  and  if  the 
coaches  want  to  slow  anything  down 
still  further,  they  can  always  slow  the 
projector  enough  to  get  an  equivalent 
slowing  to  the  64-frame  effect,  yet  with- 
out getting  too  unpleasant  a  flicker. 

In  the  latter  part  of  the  game  we 
slow  the  camera  down  to  32-frame  speed 
as  more  and  more  of  the  stadium  is 
shadowed.  In  the  past,  we  would  use 
regular  pan  for  the  early  parts  of  the 
game,  and  Super  Sensitive  for  the  later 
quarters.  Further  on  this  fall,  as  the 
evenings  fall  earlier  and  the  late  after- 
noon light  becomes  poorer,  we  will  prob- 
ably have  to  shoot  color  as  long  as  the 
light  is  adequate,  and  then  finish  in 
monochrome. 

Even  with  the  slower  camera  speeds 
we  burn  up  plenty  of  film.  Using  but  one 
camera,  each  game  requires  from  1200 
to  1400  feet  of  film. 

Have  Special  Section 

The  best  viewpoint  for  filming  foot- 
ball is  one  as  high  as  possible,  looking 
diagonally  down  on  the  play.  From  this 
angle  you  can  show  practically  the 
whole  team,  while  if  you  do  it  from 
ground  level  you  can  show  only  the  ac- 
tion nearest  your  lens,  which  will,  of 
course,  hide  much  that  occurs  farther 
away. 

Since  at  our  games  the  press-box, 
high  on  the  rim  of  the  stadium,  is 
usually  crowded  with  reporters,  radio 
announcers,  newspaper  and  newsreel 
photographers  and  "visiting  firemen," 
we  rarely  work  from  there. 

Our  cameras,  assistants  and  acces- 
sories require  plenty  of  space.  Instead 
we  have  a  special  section  right  over  one 
of  the  entrance  tunnels,  which  still  gives 


a  high  viewpoint,  and  also  allows  much 
more  room. 

The  choice  of  lenses  depends  of  course 
on  where  in  the  field  the  play  is  occur- 
ring. For  plays  in  midfield,  close  to  my 
side  of  the  gridiron,  I  use  two-inch 
lenses.  For  plays  on  the  opposite  side 
of  the  field  I  switch  to  three-inch  objec- 
tives. For  action  at  points  between, 
say,  the  forty  and  twenty-five  yard  lines, 
I  use  a  four-inch  lens. 

For  action  from  the  twenty-five  yard 
line  to  the  goalposts  I  use  a  six-inch 
lens.  This  enables  me  to  keep  the  images 
of  the  players  pretty  consistently  the 
same  size  no  matter  where  the  play 
occurs. 

Diagonal  Angle 

If  one  worked  single-handed  on  an 
assignment  like  this  I  suppose  the  tele- 
lenses  might  give  considerable  problems 
in  exposure.  But  working,  as  one  must 
if  he  does  it  seriously,  with  plenty  of 
assistants,  it  is  easy  enough  to  send 
someone  down  on  the  field  every  now 
and  again  to  take  a  meter-reading. 

The  real  problem  is  one  created  by 
shooting  at  the  steep  dovraward  angle 
required  by  the  necessarily  high  view- 
point. It's  first  cousin  to  our  friend 
finder  parallax,  but  it  works  differently. 
If  we  were  shooting  from  the  ground 
level  we  would  be  square  with  our  sub- 
ject. If  we  could  shoot  straight  down 
from  above,  the  same  would  be  true. 

But  we're  shooting  at  a  diagonal 
angle.  This  makes  the  field  taken  in 
by  the  lens  change  from  a  rectangle  to 
a  trapezoid.  In  plain  English  the  field 
is  foreshortened,  and  wider  at  the  top 
than  at  the  bottom. 

The  finder  doesn't  see  things  that  way. 
Unless  you  are  prepared  for  it,  you  will 
find  that  action  you've  centered  on  the 
cross-lines  of  your  finder  will  surpris- 
ingly be  moved  down  toward  the  bottom 
of  your  picture  on  the  screen.  I  had 
to  have  special  finders  made  for  all  my 
cameras  to  compensate  accurately  for 
this. 

On  some  plays  —  especially  running 
plays,  kicks  and  passes — I  center  things 


October,  1938    •    American  Cinematographer  431 


Late  hi  the  game,  as  the  field  becomes  shadowed,  faster  films  or  sloxder  camera  speeds  —  sometimes  both — are  necessary. 
These  jnctures,  made  in  the  closing  minutes  of  the  final  quarter,  used  Agfa  Supreme,  exposed  1/200  second  at  f  -.5.6. 


differently  than  would  be  the  case  if  the 
film  was  made  for  pleasure.  On  such 
a  play  I  keep  the  ball  carrier  well  to 
the  back  edge  of  the  frame,  instead  of 
in  the  center. 

From  the  coach's  viewpoint,  what  the 
ball  carrier  does  is  no  more  important 
than  how  his  interference  forms  to  pro- 
tect him,  or  how  his  fellow-players  block 
off  the  opposing  tacklers  while  he  gets 
away  a  kick  or  a  pass. 

Panning  Ball 

Once  kick  or  pass  is  made,  I  follow 
the  ball  through  the  air,  but  let  it  get  a 
bit  ahead  of  my  panning,  so  that  when 
it  reaches  its  mark  I  can  show  not  alone 
the  receiver,  but  also  what  the  other 
players  do  to  protect  or  intercept  him. 

On  the  home  games,  I  have  one  of 
my  assistants  acting  constantly  as  a 
runner,  rushing  exposed  film  to  the  lab- 
oratory in  Hollywood,  where  it  is  proc- 
essed as  fast  as  possible. 

Both  teams  want  these  films  as  soon 
as  possible,  so  they  can  study  the 
play-by-play  pictures  in  the  first  sessions 
they  and  their  players  have  after  the 
game.  That  calls  for  quick  processing 
and  quicker  cutting! 

All  of  this,  I  hope,  will  indicate  that 
this  business  of  filming  football  for 
coaches  should  be  approached  in  a  cold- 
minded,  fully  professional  spirit.  That, 
I  believe,  is  why  in  spite  of  the  numbers 
of  enthusiastic  amateur  filmers  in  most 
colleges,  such  filming  is  seldom  intrusted 
to  undergraduates,  or  in  fact  to  ama- 
teurs among  the  alumni  or  even  to  out- 
side amateurs. 

Practically  all  of  the  colleges  in  the 
Pacific  Coast  Conference  and,  I  believe, 
in  most  other  major  conferences,  make 
such  official  films  of  their  games.  In 
some  parts  of  the  country,  however, 
there  are  undoubtedly  colleges  which  do 
not  as  yet  make  such  films,  but  could 
very  well  use  them. 

Do  Your  .Job  Well 

These  offer  an  opportunity  to  the 
really  advanced  16mm.  filmer — provided 
he  is  willing  to  approach  the  problem  as 
it  should  be  approached.    Here  are  some 


hints:  first,  don't  offer  to  do  it  for  noth- 
ing; nobody  appreciates  something  se- 
cured that  way,  and  in  a  case  like  this 
they  are  likely  to  suspect  cut  rates  con- 
ceal sloppy  workmanship. 

Second,  have  proper  equipment  and 
plenty  of  really  good  assistants.  Third 


—  and  most  important  —  if  you  tackle 
such  a  job,  do  it  well.  Remember  to  keep 
your  mind  on  your  photography — for- 
get you  are  a  football  fan. 

If  you  must  get  excited  over  football 
filming,  do  it  after  the  game,  when  you 
are  running  your  rushes! 


G.E  ANNOUNCES  CHANGE 
IN  ITS  EXPOSURE  METER 


A  new  calculator,  easy  to  operate  and 
covering  a  wide  range  of  film  speeds, 
is  being  supplied  with  the  General  Elec- 
tric photographic  exposure  meter.  Sim- 
ple manipulation  of  the  new  calculator, 
by  means  of  a  knurled  dial,  makes  pos- 
sible the  reading  of  film  speeds  from 
2  to  160.  Larger  numerals  facilitate 
quick  readings. 

Also  incorporated  in  the  new  model 
is  the  single-arc  scale,  previously  op- 
tional and  now  standardized  in  accord 
with  the  popular  demand  for  simple 
calibration.    Involving  no  changes  in  the 


New  Eastman  Darkroom 
Outfit 

A  new  Kodak  darkroom  outfit  No.  3, 
just  announced  from  Rochester  by  East- 
man, includes  everything  the  amateur 
needs  to  begin  developing  and  printing 
his  own  pictures.  It  consists  of  1  Brownie 
darkroom  lamp,  3  4  by  6  inch  Eastko 
trays,   1   eight-ounce   Eastko  graduate, 

1  3^/4  by  5V2  Eastman  printing  frame 
with  glass,  1  eight-inch  glass  stirring  rod, 
a  one-pound  package  of  Kodak  acid  fix- 
ing powder,  1  Kodak  tray  thermometer, 

2  Kodak  junior  film  clips,  6  blotters  OVi 
by  12,  set  of  three  rubber  finger  tips, 
one  package  of  5  by  7  Eastman  mask 
charts,  one  copy  of  "How  to  Make  Good 
Pictures,"  two  dozen  sheets  of  Velox 
Paper  3%  by  bVz  inches,  one  instruction 
booklet  and  five  tubes  of  Universal  De- 
veloper. The  price  of  the  outfit  is  §4.25. 


meter  itself,  the  new  scale  provides 
complete  camera  settings  with  the  aid 
of  the  calculator. 

Any  individual  user  of  the  previous 
standard  General  Electric  exposure  meter 
who  desires  to  have  his  unit  modified  in 
line  with  the  new  design  can  return  his 
meter  to  the  General  Electric  Company, 
40  Federal  Street,  West  Lynn,  Mass. 
If  he  desires  the  single-arc  scale  in  ad- 
dition to  the  new  calculator,  he  should 
specifically  request  it.  A  charge  of 
$2.50,  c.o.d.,  will  be  made  for  the  change. 

All  features  other  than  the  calculator 
and  the  scale  remain  the  same  in  the 
new  instrument.  With  its  easily  remov- 
able cover  the  unit  gives  accurate  read- 
ings in  bright,  medium  and  dim  light. 
Its  use  is  the  same  for  movies  or  stills, 
in  color  or  in  black  and  white. 


Exploit  Films  in  Windows 

The  use  of  American  motion  picture 
cuts  and  photo  enlargements  in  store 
and  business  window  displays  is  becom- 
ing more  and  more  widespread  through- 
out Sweden,  especially  in  Stockholm  and 
other  larger  cities,  according  to  a  report 
to  the  Department  of  Commerce. 

Although  these  cuts  and  enlargements 
are  intended  primarily  to  advertise  the 
films  in  question,  they  are  gradually  be- 
coming an  integral  part  in  the  window 
displays  in  that  country  as  they  have  a 
strong  drawing  power  for  both  custo- 
mers and  window  shoppers,  the  report 
stated. 


432     American  Cinbmatographer    •    October,  1938 


PREPARING  SMALL 
CAR  FOR  CHASES 


Jack  V.  Wood,  S,A,C, 


THE  amateur  cinephotographer 
sooner  or  later  finds  he  needs  very 
much  a  method  satisfactorily  to 
photograph  "chase"  scenes.  Also  the 
same  amateur  would  like  very  much  an 
easy  method  of  quickly  moving  his  cam- 
era, tripod  and  all,  from  one  place  to 
another,  and  yet  at  all  times  keeping  it 
set  up  ready  to  shoot.  Still  another 
urgent  need  is  that  of  producing  smooth 
exterior  trucking  shots. 

It  was  found  possible  to  solve  all  three 
of  these  problems  with  one  mobile  unit, 
a  bantam  size  convertible  model  auto- 
mobile. 


Figure  2 — A  bolt  eye  in  the  car  floor, 
directly  below  the  camera,  allows  for 
solid  anchorage  of  the  tripod  to  the  car 
itself. 

Figure  3 — The  chain  attached  to  the  car 
floor,  as  shown  in  Figure  2,  is  attached 
to  the  tripod  through  a  cinching  holt 
which  in  turn  is  bolted  into  the  panoram 
adjustment  of  the  standard  Cine-Kodak 
tripod  head. 

Figv/re  U — Further  chain  length  adjust- 
ment is  obtained  by  looping  the  chain 
back  and  securing  ivith  an  easily  remov- 
able bolt. 

Figure  5 — The  tripod  is  set  up  directly 
behind  the  front  seats  in  ivhat  is  nor- 
mally the  luggage  compartment. 


The  particular  car  used  is  a  Fiat, 
which  has  the  advantage  of  a  rigid  body 
and  yet  allows  for  the  entire  top  of  the 
car  to  be  opened  up.  As  shown  in  Fig- 
ure 1,  the  camera  and  its  tripod  stick 
out  through  the  top  of  the  car,  allowing 
360  degrees  of  panoram  without  the  car 
itself  ever  getting  into  the  scene. 

Due  to  the  extremely  low  build  and 
short  wheel  base,  the  tilt  allows  for  at 
least  180  degrees  operation,  and  except- 
ing for  directly  forward  shots  the  cam- 
era can  tilt  from  close-up  ground  to  the 
sky,  all  without  including  the  camera 
car  in  the  scene. 

The  tripod  is  set  up  in  what  is  nor- 
mally the  luggage  space,  directly  be- 
hind the  two  front  seats.  Most  im- 
portant to  successful  operation  is  the 
ability  to  anchor  the  tripod  and  camera 
solidly  to  the  car  itself. 

Anchoring  Tripod 

This  is  accomplished  by  inserting  a 
bolt  eye  through  the  metal  floor  of  the 
car,  directly  below  the  camera  position. 
Then  a  chain  is  hooked  to  the  eye,  as 
shown  in  Figure  2,  and  the  other  end 
of  the  chain  is  attached  to  a  cinching 
mechanism  which  in  turn  is  bolted  into 
the  panoram  adjustment  of  the  stand- 
ard Cine-Kodak  tripod,  as  illustrated  in 
Figure  3. 

This  anchoring  arrangement  is  funda- 
mentally the  same  as  used  by  the  pro- 


Figure  1 — Camera  and  tiipod  stick  out 
well  above  the  top  of  the  car,  and  the 
cameraman  (the  writer)  rests  comfort- 
ably seated  on  the  folded  top. 


fessional  cameramen,  and  it  wiil  hold 
the  camera  and  tripod  absolutely  rigid 
under  nearly  all  conditions.  However, 
care  must  be  taken  that  the  tripod  legs 
are  securely  set,  and  that  the  leg  points 
bite  into  the  rubber  mat  of  the  car  floor. 

Chase  shots  are  the  biggest  problem  of 
the  camera  car,  for  due  to  the  short 
wheel  base  and  the  fact  the  motor  is 
pulling  the  car  vibration  may  be  exces- 
sive for  some  types  of  shots. 

When  the  chase  is  exaggerated  by 
eight-frame  camera  operation,  \abration 
will  be  very  noticeable,  but  then,  in  such 
exaggerated    action,    camera  vibration 


may  only  heighten  the  illusion  and  not 
be  undesirable. 

Where  normal  motion  is  wanted  it 
should  be  faked  as  much  as  possible. 
This  is  done  by  running  the  camera  at 
32  frames  and  speeding  the  action  to 
compensate  for  it.  The  advanced  camera 
speed  will  smooth  the  camera  car  motion 
and  eliminate  undesirable  vibration. 

Another  method,  suitable  in  short 
shots,  is  to  allow  the  car  to  coast  with 
the  motor  turned  off.  In  instances  where 
the  camera  allows  for  shutter  adjust- 
ment, it  is  best  to  keep  the  exposure 
time  as  fast  as  possible  by  closing  down 
the  size  of  the  shutter  opening. 

Mobile  Camera 

Trucking  shots  are  a  specialty  of  this 
camera  car.  Because  the  camera  car  is 
so  small  and  so  light,  the  setup  is  easily 
pushed  around  in  all  types  of  trucking 
shots.  No  attempt  is  made  to  ran  the 
car  on  its  own  power. 

While  the  cameraman  operates  with- 
in the  car,  an  assistant  steers  as  the 
cameraman  directs,  or  as  rehearsals 
have  indicated,  and  two  more  assistants 
do  the  necessary  pushing  and  pulling. 

The  car  truck  operates  easily  on  side- 
walks, over  lawns,  in  fact  anywhere  the 
professional  camera  truck  would  attempt 
to  operate  without  special  tracks  in  an 
exterior  shot.  The  rubber  tires,  plus  an 
efficient  spring  and  snubber  action,  give 
very  satisfactory  taking  results. 

The  third  great  advantage  of  the  cam- 
era car  is  rapid  mobility  in  taking  a 
series  of  stationary  camera  shots.  The 
camera  may  be  set  up  within  the  car  so 
that  it  is  no  higher  than  it  normally 
would  be  for  an  ordinary  shooting  set 
up. 

Convenient  Platform 

The  car  is  driven  to  the  first  position, 
the  motor  turned  off,  the  shot  made,  and 
on  again  to  the  next  camera  position. 
By  this  method  it  is  possible  to  work 
three  or  four  times  more  quickly  with- 
out sacrificing  anything  in  careful  cam- 
era operation  and  subsequent  photo- 
grapic  quality. 

Especially  convenient  is  this  method 
for  taking  exteriors  when  one  wishes 
to  photograph  buildings,  sidewalk  scenes, 
or  traffic  scenes  from  a  busy  street.  Not 
only  is  the  work  done  much  faster  and 
much  easier,  but  also  at  less  danger,  for 
the  cameraman  is  not  out  in  the  street 
dodging  traffic  while  he  works. 

Naturally  the  camera  tripod  anchor- 
age principle  may  be  applied  to  a  nor- 
mal sized  car,  but  the  distinct  advan- 
tage of  the  bantam  size  car  is  its  com- 
pactness, lowness  to  the  ground  and  the 
lightness  that  allows  easy  pushing  and 
pulling  around. 

Simple  Two-Purpose  Accessory 

Where  a  normal  car  could  not  be 
easily  operated  over  sidewalks  and 
lawns  the  bantam  takes  all  this  in  its 
stride,  without  damage  to  the  landscape. 
In  fact,  it  is  doubtful  if  the  little  car 
is  much  bigger  or  heavier  than  the  pro- 
fessional camera  truck. 

The  amateur  cinephotographer,  in 
shooting  interiors,  often  finds  it  ad- 


Figure  1 

vantageous  to  have  a  front  light  in  the 
immediate  vicinity  of  the  camera,  able 
to  follow  the  camera's  movements.  Per- 
haps the  most  convenient  method  of  ac- 
complishing this  is  by  means  of  a  U- 
shaped  metal  strip  that  fastens  the  light 
right  on  to  the  camera  tripod,  as  illus- 
trated in  Figure  1.  The  light  will  then 
turn  automatically  with  any  camera 
movement. 

The  U-bar  has  a  hole  drilled  in  each 
U-end.  One  hole  is  threaded  the  same 
size  as  the  tripod  screw  and  the  other 
hole  is  left  unthreaded.  When  the  bar 
is  used  as  a  camera  light  support  the 
unthreaded  end  is  slipped  over  the  tripod 
screw  and  the  threaded  end  is  used  to 
bolt  on  the  light. 

Another  Use  for  U-bar 

But  this  U-bar  has  another  use,  and 
that  is  to  invert  the  camera  in  making 
reverse  motion  shots.  Although  on  the 
particular  camera  illustrated  it  is  pos- 
sible to  hand  crank  the  film  backward 
for  reverse  motion  shots,  the  use  of  an 
inverted  camera,  later  turning  the  film 
end  for  end  after  processmg,  is  much 
more  convenient.  Especially  is  this  so 
where  the  camera  must  follow  some 
action  during  the  reverse  motion  scene. 

When  using  the  U-bar  for  reverse  mo- 
tion shots,  as  illustrated  in  Figure  2, 
the  threaded  end  of  the  bar  is  attached 
to  the  tripod  bolt  and  the  camera  is  then 
attached  upside  down  to  the  other  end 
of  the  U-bar  with  the  same  spare  bolt 
that  also  serves  to  fasten  the  camera 
light  to  the  metal  bar. 

Since  the  bar  will  vary  in  size  with 
the  camera  used,  no  specifications  are 
given,  but  the  constraction  is  rather 
obvious  from  the  illustrations  showing 
the  accessory  in  use  both  as  a  camera 
light  holder  and  as  a  reverse  motion 
camera  attachment. 


Figure  2 

Universal  Issuing 
New  8 mm.  Model 

There's  a  new  8mm.  camera  in 
the  works.  Universal  Camera  Cor- 
poration's district  offices  now  are 
taking  orders  for  the  model  that  will  be 
known  as  the  World's  Fairs  Cine  8  Cam- 
era. The  prices  will  range  from  $12.50 
for  the  f5.6  lens  to  $47.25  for  the  fl.9. 
Among  the  features  listed  for  the  new 
model  are: 

A  new  type  brilliant  vision  optical 
view  finder  built  into  the  body  of  the 
camera. 

A  quick  closing  hinged  cover  which 
cuts  the  loading  time  almost  in  half. 

A  self-locking  cover  catch  insuring 
automatic  locking  of  the  cover. 

A  new  type  shutter  release  mechan- 
ism closing  the  shutter  every  time  the 
motor  is  stopped. 

A  high-powered,  quiet  running  motor 
giving  a  long  run  of  film  at  a  uniform 
rate  of  speed.  The  new  governor  incor- 
porated in  this  motor  represents  an  ad- 
vanced design. 

T 

South  African  Censors  Report 

The  report  of  the  Board  of  Censors 
of  the  Union  of  South  Africa  for  the 
year  ended  December  31,  1937,  shows 
that  1520  motion  picture  films  were 
censored  during  the  year,  1415  approved 
without  excision,  73  approved  after  cer- 
tain excisions,  and  that  32  were  rejected. 

Censorship  is  so  strict  in  the  Union 
of  South  Africa  that  exhibitors  hesitate 
to  offer  films  for  review  that  may  be 
rejected.  It  is  interesting  to  note  that 
six  appeals  were  lodged  against  the 
decision  of  the  Board,  and  that  four  of 
these  were  upheld. 


434     American  Cinematographer    •    October,  1938 


en  s 


upermipo 


sill! 


title; 


.  T 


DOUBLE  exposed  titles  on  natural 
background  offer  a  decidedly  novel 
touch  to  amateur  films,  while  the 
nature  of  their  presentation  adds  much 
to  the  interest  and  continuity  of  the 
finished  reel. 

A  measure  of  patience  and  the  knowl- 
edge that  the  film  is  exposed  twice — 
once  for  the  background — and  again  for 
the  title,  plus  a  method  for  timing  each 
scene  for  the  second  or  title  exposure, 
are  the  prime  requisites  for  obtaining 
distinctive  explanatory  combinations. 

During  their  preparation  several  fac- 
tors should  be  given  consideration  in 
order  to  procure  the  best  results.  The 
selection  of  title  backgrounds  should  be 
confined  to  scenes  giving  sufficient  con- 
trast to  white  title  letters  to  define  clear- 
ly the  latter  upon  projection,  and  in  this 
respect  a  tendency  toward  slight  under- 
exposure will  help  in  gaining  the  de- 
sired effect. 

Backgrounds  must  harmonize  with  the 
titles  employed  in  addition  to  tieing  in 
with  the  scenes  to  follow.  Further,  they 
should  be  free  as  possible  from  too  con- 
trasty  compositions  and  harsh  lines 
which  might  tend  to  absorb  the  title  let- 
ters, rendering  them  difl^cult  to  read. 

Views  having  excessive  action  in  them 
should  not  be  considered,  as  too  much 
movement  has  a  tendency  to  distract  the 
attention  of  the  audience  from  the  titles, 
thereby  nullifying  the  value  of  the  in- 
formation imparted  by  the  lettering. 
Tliat  after  all  is  the  important  feature 
of  the  two  exposures. 

Red  Filter  Solves  Problem 

Obviously  when  a  large  portion  of  the 
sky  is  included  as  part  of  the  title  back- 
ground some  means  of  darkening  it  in 
order  that  the  white  lettering  vdll  stand 
out  clearly  should  be  utilized. 

A  red  filter  will  solve  this  problem 
very  well,  while  moviemakers  having 
yellow  filters  only  will  find  that  good 
results  will  be  attained  by  their  use 


1 —  Top:  This  cut  illustrates  a  scenic 
fully  described  by  the  wording  employed. 
Scenes  to  follow  should  tie  in  with  this 
opener. 

2 —  This  illustration  is  descriptive  of  a 
quick  title  set-up  on  black  cardboard. 
The  letters  in  this  case  were  spot-lighted 
to  accentuate  their  appearance. 

3 —  Introductory  titles  serve  to  acquaint 
the  audience^  with  the  cast  of  a  scenario 
story  in  the  order  of  appearance  on  the 
screen. 

h — Vignetting  and  back  lighting  add  an 
extra  touch  to  shots  introducing  mem- 
bers of  a  scenario  story. 


coupled  with  a  disregard  for  the  full 
compensation  of  the  aperture  normally 
required  by  the  addition. 

Shooting  background  scenes  for  super- 
imposed titles  is  exceedingly  simplified 
if  your  camera  is  equipped  with  a  back- 
wind.  However,  most  cine  cameras  are 
without  this  handy  expedient  and  some 
other  arrangement  must  be  worked  out 
to  determine  the  beginning  and  ending 
of  each  scene. 

A  system  quite  commonly  used  is  to 
load  the  camera  as  usual  and  when  the 
end  of  the  film  has  been  safely  secured  to 
the  take-up  spool  mark  the  emulsion 
side  at  a  selected  point  with  a  lead 
pencil.  Then  close  the  camera  and  run 
off  the  leader  to  the  mark  required  by  the 
footage  indicator.  Time  this  procedure 
with  the  second  hand  of  your  watch  and 
note  the  number  of  seconds  elapsed  for 
this  action  on  a  piece  of  paper. 

Exposure  for  Title 
The  film  leader  now's  on  the  take-up 
spool;  your  camera  is  in  readiness  for 
shooting  the  first  title  background. 
When  the  camera  set-up  has  been  effected 
for  your  first  picture,  time  and  note  the 
scene  length  in  the  manner  described  for 
the  leader.  The  same  proceedings  will 
apply  for  each  additional  shot  for  double 
exposure. 

When  sufficient  scenes  for  title  pur- 
poses have  been  taken  in  accordance 
with  the  above,  the  remainder  of  the  roll 
may  be  used  in  the  customary  manner. 
When  it  has  been  completely  exposed,  re- 
load it  in  your  camera,  and  after  secur- 
ing the  film  end  to  the  empty  spool  take 
it  up  until  the  pencil  marked  section  is  at 
the  point  selected  in  the  original  loading. 

Replace  the  cover  and  run  the  camera 
the  number  of  seconds  previously  noted 
for  the  leader.  This  will  bring  the  film 
into  position  for  the  first  title  exposure. 

The  shot  of  the  title  must  not  exceed 
the  time  length  noted  for  the  background 
scene.  If  fades  are  used  in  the  original 
views  the  time  lapse  of  each  should  be 
noted  on  your  log  and  due  consideration 
of  that  fact  be  given  when  recording  the 
title  wording.  In  the  event  you  fade  in 
and  out  on  the  title,  start  and  end  the 
performance  well  within  the  scene  length 
as  determined  in  seconds. 

Printed  in  White  Ink 

White  letters  placed  on  a  dull  back- 
ground must  be  used  to  give  you  the 
effect  shown  in  the  illustration  entitled 
"Hollywood."  The  background  specified 
is  very  necessary  in  order  to  prohibit 
highlights  and  to  prevent  it  from  regis- 
tering on  the  film.  In  this  connection 
a  small  degree  of  underexposure  will  help 
subdue  it,  but  wiW  not  prevent  the  letters 


October,  1938    •    American  Cinematographer  435 


from  being  clearly  defined  in  the  finished 
product. 

Titles  may  be  printed  with  white  ink 
on  album  paper  and  photographed  in 
your  titler,  although  great  care  must  be 
exercised  in  the  printing,  as  irregulari- 
ties are  very  apparent  upon  projection 
due  to  extreme  magnification. 

Printed  in  White  Ink 

White  cast  letters  or  those  cut  from 
cardboard  give  excellent  results.  For 
the  background,  black  velvet  or  cloth  de- 
void of  sheen  will  serve  very  nicely,  but 
the  former  will  give  the  better  result 
as  it  absorbs  the  light  and  is  free  from 
reflections. 

Dull  black  printing  cards  size  20  by  26 
inches  may  be  purchased  from  most 
stationery  stores  and  laid  on  the  floor 
or  used  as  illustrated.  Secured  to  a  card 
table  inclined  against  the  wall,  two  strips 
cut  from  one  end  were  folded  and  thumb- 
tacked  through  the  inner  fold  in  the  loca- 
tion desired,  serving  to  hold  the  letters 
in  place  for  filming. 

Upon  conclusion  of  your  superimposed 
title  shooting,  be  absolutely  sure  you  cap 
your  camera  lens  before  running  the  re- 
mainder of  the  exposed  film  on  to  the 
take-up  spool.  With  8mm.  cameras 
using  double  film,  it  is  necessary  to  run 
the  film  through  twice  in  order  to  bring 
it  back  to  the  original  container. 

The  system  of  timing  outlined  herein 
is  not  confined  only  to  titles.  Double  or 
multiple  exposures  may  be  made  of  any 
type  of  scene  or  action  requiring  in  such 
cases  lens  masks  to  block  off  the  portion 
of  the  frame  to  be  excluded  during  each 
filming. 

Vignetting  Subject 

Where  it  is  desired  to  introduce  the 
cast  of  a  scenario  story,  a  very  pleasing 
effect  may  be  obtained  by  vignetting  the 
subject  with  a  short  length  of  cardboard 
tubing  placed  over  the  lens  barrel.  To- 
gether with  the  unusual  lighting  effect 
obtained  in  Illustration  4  distinctive  in- 
troductory shots  will  be  obtained. 

To  achieve  the  inordinary  backlighting 
in  this  cut,  a  photoflood  in  reflector  was 
set  up  several  feet  in  front  of  the  sub- 
ject at  face  level  and  to  the  right  of  a 
mirror  hanging  on  the  wall. 

The  young  woman  was  placed  near  the 
mirror  in  a  position  to  completely  hide 
the  reflection  with  her  head.  This  re- 
sulted in  normal  front  lighting  and  re- 
flected back  lighting.  The  right  side  of 
her  face  was  lighted  by  a  photoflood  in 
reflector  set-up  at  a  low  angle  to  pre- 
vent further  reflections  in  the  mirror. 


Ripley  Bugbee  Passes 

Ripley  W.  Bugbee,  president  of  the 
Philadelphia  Cinema  Club,  passed  away 
September  14.  He  had  been  on  his  va- 
cation trip,  traveling  through  the  West, 
and  apparently  contracted  Rocky  Moun- 
tain fever.  He  was  rushed  to  the  hos- 
pital, but  the  doctors  were  unable  to 
stem  the  tide. 

Mr.  Bugbee  was  a  charter  member 
of  the  Philadelphia  Cinema  Club  and 


instrumental  in  bringing  it  up  to  its 
present  position  among  the  amateur 
groups  of  the  country.  He  was  an  un- 
tiring worker  in  the  cause  of  amateur 
photography,  and  his  own  work  brought 
him  many  prizes  in  the  field. 

His  loss  will  be  felt  not  only  by  the 
members  of  our  own  group,  but  by  all 
those  who  have  come  in  contact  with 
him  professionally  or  otherwise. 

B.  N.  L. 


for  use  in  developing  Verichrome  Film; 
Series  3,  green,  new,  for  use  in  com- 
pleting development  of  panchromatic 
film  where  complete  darkness  is  not  re- 
quired; Series  0,  yellow,  new,  for  use  in 
contact  printing  and  enlarging. 

Since  each  lamp,  fully  equipped  with 
7 1/2 -watt  bulb,  costs  only  50  cents,  the 
amateur  can  obtain  a  complete  safelight 
set-up  for  SI. 50  covering  all  the  sensi- 
tive materials  he  commonly  uses. 


New  Brownie  Darkroom 
Lamps 

Two  new  Brownie  darkroom  lamps 
are  announced  from  Rochester  by  East- 
man. The  line-up  on  these  inexpensive 
darkroom  aids  is  now:   Series  2,  red, 


Of  the  1,520  films  censored  by  the 
Union  of  South  Africa  censors  347  were 
classified  as  drama,  395  as  comedy,  486 
as  newsreels,  topical,  interest  and  mu- 
sical, and  292  as  trailers. 


1  liicturu  by  Clias.  riicl|)s  Ciisliing 


WESTON  Junior  ...  a  quick 
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of  the  knurled  knob,  and  you 
have  all  correct  aperture-shut- 
ter combinations  in  full  view. 
Price  S15.50. 


The  Model  650  WESTON  Uni- 
versal .  ,  ,  preferred  by  those  re- 
quiring the  flexibility  of  the  ex- 
clusive WESTON  exposure 
dial.  Price  $22.50. 


The  Model  8 1  9  Cine  WESTON 
.  .  .  preferred  by  movie-makers 
for  the  convenience  of  the  "pre- 
set" cine  exposure  dial.  Price 
$22.50. 


Your  negatives  will  faithfully  record  each  scene  as 
you  see  it ...  as  you  want  it  recorded  ...  if  a  Weston 
Exposure  Meter  is  used.  »  »  »  For  normal  scenes,  the 
compact  Weston  Junior  offers  the  simplest  means  of 
obtaining  correct  camera  settings.  Model  650,  how- 
ever, provides  a  means  of  controlling  film  density  and 
print  characteristics.  For  movies,  too,  correct  exposure 
is  assured  with  the  specially  designed  Cine  Weston. 
All  can  be  used  with  black  and  white  or  color  film. 
»  »  »  Choose  the  Weston  to  fit  your  purse  or  need; 
but  whichever  model  you  choose  you  can  be  sure  of 
exact  exposure  results ...  perfect  pictures ...  from  that 
time  on.  See  the  Weston  at  your  dealer's,  or  write  for 
helpful  literature.  Weston  Electrical  Instrument  Cor- 
poration, 598  Frelinghuysen  Avenue,  Newark,  N.  J. 

Weston 

C/rJ?osurelViefers 


436     American  Cinematographf.r    •    October,  1938 


American  Cinematographer 

1938  International 
Amateur  Competition 

FOR  8MM  AND  16MM  SUBJECTS 

CLOSES  OCTOBER  31,  1938 

$500  in  Cash  Prizes 

GRAND  PRIZE  $200 

Photography  $50    Home  Movie  $50 

Color    50    Scenic   50 

Scenario    50    Documentary    50 

NO  ENTRANCE  FEE 
ORIGINAL  FILMS  ONLY  —  NO  DUPES 
NO  REDUCTION  FROM  35MM 


THE  RULES 

The  contest  is  world  wide  and  open  only  to  genuine 
8mm  or  16mm  amateurs  or  amateur  clubs. 

The  contest  ends  at  midnight  October  31,  1938. 

Pictures  submitted  will  be  judged  for  photography,  en- 
tertainment and/or  story  value,  direction,  acting,  cut- 
ting and  composition. 

The  decision  of  the  judges,  among  whom  there  will  be 
prominent  cameramen,  will  be  final.  Announcement  of  the 
awards  will  be  made  as  soon  after  the  close  of  the  con- 
test as  possible  and  checks  sent  to  the  winners. 

Pictures  may  be  submitted  either  by  individual  amateur 
movie  makers  or  they  may  be  submitted  by  amateur  movie 
clubs.  Each  entrant  must  have  his  entry  or  entries  ac- 
companied by  a  sworn  statement,  the  blank  for  which  will 
be  forwarded  to  him  to  fill  in. 

Contestants  may  enter  as  many  subjects  as  they  desire. 
One  entry  blank  will  cover  all  subjects. 

The  American  Cinematographer  reserves  the  right  not 
to  declare  a  prize  for  any  classification  if  in  the  opinion 
of  the  judges  there  is  not  a  picture  submitted  sufficiently 
good  to  be  classed  as  a  prize-winner. 

The  American  Cinematographer  retains  the  right  to 
make  duplicates  of  such  prize-winning  pictures  as  it  may 


indicate,  for  free  distribution  to  clubs  and  amateur  organ- 
izations throughout  the  world. 

If  you  intend  to  enter  the  contest,  please  send  coupon 
on  this  page  for  oflBcial  entry  blank. 

NOTICE  TO  FOREIGN  ENTRIES 

Films  from  foreign  countries  will  be  admitted  to  the 
United  States  duty  free  if  the  pictures  are  made  on 
American  made  stock.  If  this  is  the  case,  this  fact  must 
be  included  in  the  shipment,  also  the  information  must  be 
given  that  it  is  for  non-commercial  use.  If  the  film  is 
not  exposed  on  American  made  stock  duty  will  have  to  be 
prepaid  by  the  sender  at  the  rate  of  $1  per  hundred  feet. 


AMERICAN  CINEMATOGRAPHER 
1782  No.  Oranee  Drive 
Hollywood,  California 

Please  send  me  one  of  your  official  entry  blanks.  I  intend  to 
enter  a  (16mm  8mm)  picture  in  your  1938  contest.  I  understand 
my  entry  must  be  in  the  post  or  express  office  and  so  stamped 
not  later  than  midnight,  October  31,  1938. 

Name   

Street   

Address   


October,  1938    •    American  Cinematographer  437 


MAKE  SHOW 
CATER  TO 
NON^FILM 
VISITORS 


WHETHER  home  movie  audiences 
enjoy  seeing  our  films  as  much 
as  we  enjoy  showing  them  de- 
pends not  only  upon  what  we  show  but 
upon  how  we  show  it.  Hastily  dragging 
projector  and  screen  from  their  closet, 
setting  them  up  and  rearranging  chairs, 
lighting  and  so  on  is  all  right  for  in- 
formal screen  jam-sessions  with  fellow 
filmers :  but  when  we  exhibit  our  films  to 
non-filming  friends  we  owe  it  to  our  au- 
dience to  present  the  show  with  fore- 
thought and  at  least  a  touch  of  show- 
manship. 

As  a  starting  point  everything  ought 
to  be  set  up  and  ready  before  the  audi- 
ence arrives.  Projector  and  screen  should 
be  in  their  places,  with  the  chairs  ar- 
ranged in  between.  The  projector  should 
be  threaded  and  focused,  to  say  nothing 
of  being  framed  on  the  opening  title 
rather  than  on  leader. 


There  are  a  lot  of  little  details  about 
this  matter  of  arrangement  which  ought 
to  be  considered  carefully  if  we  want 
to  create  a  favorable  impression  with  the 
average  home  audience. 

For  instance,  projector  and  screen 
should  be  lined  up  accurately.  If  the  pro- 
jector is  to  one  side  of  the  screen,  the 
image  will  appear  short  and  squatty;  if 
it  is  above  or  below  the  screen,  the 
image  will  be  distorted  the  other  way, 
and  seem  tall  and  thin. 

Projection  in  Rear 

The  screen  itself  should  be  as  far  in 
front  of  the  spectators  as  space  per- 
mits; otherwise  the  magnified  grain  of 
the  film  may  become  objectionably  evi- 
dent and  definition  apparently  will  be 
lessened.  It  is  always  a  good  idea  to  let 
the  picture  "bleed"  off  the  screen  on  all 
four  edges.  This  minimizes  any  unsteadi- 
ness in  the  picture. 


The  projector,  too,  should  whenever 
possible  be  well  behind  the  audience. 
Modern  projectors  are  quieter,  and  emit 
less  "leaked  light"  than  did  the  early 
ones,  but  even  today  are  noisy  enough 
and  glary  enough  to  be  disturbing  if 
placed  in  the  middle  of  the  crowd. 

And  while  we're  speaking  of  noise, 
avoid  using  the  average  bridge  table  for 
a  projector  stand!  The  thin  tops  of  such 
tables  act  like  sounding  boards  to  am- 
plify the  drumming  vibration  of  the  ma- 
chine. 

On  any  table,  a  felt  pad  or  better  yet 
one  of  the  sponge-rubber  "kneeling  pads" 
made  to  protect  scrubladies'  knees  is  a 
grand  thing  for  absorbing  projector 
noise  and  vibration. 

The  projectionist  should  by  all  means 
be  able  to  control  the  "house  lights"- — 
the  lights  of  the  room  in  which  he  is 
projecting.  Many  modern  projectors  pro- 
vide for  this  by  having  an  outlet  either 
in  the  projector  cable  or  in  the  machine 
itself,  wired  so  that  when  the  house 
lights  (such  as  a  reading  lamp)  are 
plugged  into  this  they  are  automatically 
tumed  off  when  the  projector  is  turned 
on. 

Plug  in  House  Light 

But  if  your  projector  lacks  this  re- 
finement there  are  several  easy  ways  of 
getting  around  it.  If  you're  a  fairly 
handy  home  electrician  you  can  easily 
add  the  outlet  and  a  double-throw  switch 
to  either  your  projector  or  the  cable  that 
feeds  it.  Personally,  though,  I  prefer  to 
have  two  separate  switches,  placed  con- 
veniently close  together,  so  that  you  need 
not  "kill"  the  house  lights  when  you  re- 
wind. 

One  of  the  simplest  ways  of  doing 
this  is  to  put  a  two-way  outlet  at  the 
end  of  an  extension  cable.  Into  one  of 
the  outlets  plug  the  projector.  Into  the 


Belt-driven  8mm.  projectors  can  easily  he  rebuilt  to  take  JtOO  foot  reels.  This  is  the  way  Randolph  Clardy  of  the  Los  Angeles 
8mm.  Club  converted  his  Eastman  projector.  The  closer  view  shows  how  the  reel  arms  were  extended.  The  reels  were  rebuilt 

from  16mm.  reel  sides  and  8mm.  hubs. 


438     American  Cinematographbr    •    October,  1938 


other  plug  a  shorter  extension  with  a 
switch  between  its  male  and  female  ends. 

Tape  this  to  the  projector  cable,  ar- 
ranging things  so  that  the  switch  is 
conveniently  close  to  the  main  projector 
switch.  Then  plug  the  house  light  line 
into  this  second  cable.  In  use  you  can 
then  have  projector  and  house  light 
switches  close  together  so  they  can  be 
operated  in  succession,  or  even  together. 

And  speaking  of  house  lights,  many 
home  impresarios  like  the  idea  of  having 
a  little  soft  light  during  the  show.  If 
you  favor  the  idea,  try  placing  one  or 
two  dark  blue  or  purple  Christmas  tree 
lights  behind  the  screen.  This  puts  a  lit- 
tle glow  of  faint  light  behind  the  screen 
and  outlines  the  picture  more  sharply, 
lessening  eye  strain.  Be  sure,  of  course, 
that  the  tiny  globes  aren't  so  close  to 
the  screen  that  they  shine  through  it! 

Using  colored  light  in  front  of  the 
screen  can  add  interest  to  many  types 
of  black-and-white  films.  A  simple  color 
wheel  can  be  fitted  to  the  projection  lens 
to  give  many  of  the  effects  of  tinted  film. 
Some  of  these  devices,  commercially 
made  a  few  years  ago,  can  be  picked  up 
cheaply  in  many  stores.  If  you  want  to 
make  your  own  it  is  simple  enough. 

If  you  want  utmost  simplicity  a  couple 
of  discs  of  cardboard  will  do.  Cut  about 
five  circles  in  each  disc  and  a  central 
hole  for  the  axle  upon  which  it  is  to 
revolve.  Into  four  of  the  larger  circu- 


aPEEOS  V'S  TO  f/55 

LENSES 

HUGO  MEYER  &  CO. 

W.  99   ST.,  NBW  VOkK 


lar  holes  cement  colored  gelatin — red, 
light  amber,  blue  and  green  are  the  most 
useful  colors. 

Converting  8mm.  Projector 

For  downright  simplicity,  one  card- 
board disc  is  enough;  but  for  strength 
and  safety  use  two  with  the  colored  gel- 
atins between  them,  and  so  better  pro- 
tected. An  ordinary  spool  can  serve  as 
a  hub. 


KODACHROME 

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I6min.  DUPLICATES 

Quality  reproductions  of  Color  Films.  Black  and 
White  duplicates,  Negative  Developing  and 
printing.  Duplicates  made  from  film  with  torn 
Sprocket  holes,  Special  film  for  titles  in  color. 
35mm.  Film  Strips  and  Film  Slides. 

General  Laboratory  Service. 

FUm  Reproduction  Company 

Box  114,  Dept.  H  Des  Moines,  lov/a 


16mm. 


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Day  Maz      100  ft. 
S.  PAN    -   -    -    -  32     16   .  $4.00 

DAYLIGHT  -  -  12  3  -  $3.00 
ROYAL  TINT  -  8     2  -  $2.50 

(Amber) 

Prices  Include  Processing  and 
Return     .     .     .  Guaranteed 

Royal  Studios 


6509  Clarkson  Ave. 


Bell,  Calif. 


At  the  Los  Angeles  8mm.  Club's  picnic 
Bob  Teorey  leads  the  threescore  ami 
more  revelers  in  song.  Aiding  him  and 
just  below  him  Claude  Cadarette  employs 
a  gallon  glass  jar  as  a  sounding  box. 
Beside  him  Ernie  Zeiders  ivith  a  piano 
accordion  supplies  the  instrumental 
music.  In  the  chair  is  Al  Leitch  doing  his 
best,  while  at  the  camera  Secretary  Bion 
Vogel,  he  with  the  tiny  trick  Spanish 
hat,  pans  the  group. 

In  the  center  Bill  Stidl  competes  in  the 
balloon  bursting  contest.  At  the  moment 
the  picture  2vas  simpped  it  was  a  ques- 
tion which  might  be  the  first  to  go — he 
or  the  balloon.  Claude  Cadarette  encour- 
ages Bill  to  hang  on. 

At  the  right  President  Cornell  slides 
around  to  the  right  of  Bill  and  inserts 
a  pin  in  the  balloon,  which  lets  go  in 
Bill's  face.  Cornell  may  be  seen  smilingly 
ivalkiyig  out  of  the  picture.  The  lad  at 
the  left  very  plainly  hugely  enjoys  the 
situation. 


The  disc  can  be  simply  glued  to  the 
end  of  the  spool:  but  a  stronger  con- 
struction is  by  cutting  the  spool  in  two, 
gluing  the  cardboard  to  one  half,  and 
then,  with  nails  and  glue,  replacing  the 
other  half.  A  wooden  dowel  can  serve 
as  an  axle. 

If  you  want  something  neater  look- 
ing take  an  old  8mm.  reel  and  remove 
the  sides  from  the  hub.  Then  use  the 


8 Enlarged 
TO 


16 


Reduced 
TO 


8 


Geo.  W.  Colburn  Laboratory 

Special  Motion  Picture  Printing 
1197  MERCHANDISE  MART 
CHICAGO 


October,  1938    •    American  Cinematographer  439 


two  metal  discs  for  your  color  wheel, 
fastening  them  tight  together,  of  course. 

In  any  event  the  color  wheel  should 
fit  rather  tightly  on  its  axle,  so  that  the 
projector's  vibration  won't  turn  it.  One 
opening  should  be  left  clear  for  occa- 
sions when  you  won't  want  the  color 
effects. 

The  exact  method  of  mounting  the 
wheel  on  the  projector  will  be  governed 
by  the  design  of  the  pi-ojector  itself. 
Generally,  the  supporting  shaft  can  T^e 
clamped,  or  even  taped  to  the  lens  mount. 

Another  use  of  colored  light  is  in  flood- 
lighting the  screen  itself  with  low-pow- 
ered illumination  of  any  desired  color. 
This  imitates  the  eff'ect  of  toned  film. 
The  whites  and  highlights  of  the  pro- 
jected picture  remain  clear,  while  the 
shadows  and  halftones  take  on  the 
color.  Combining  these  effects  with  those 
produced  by  the  color  wheel,  which  col- 
ors the  highlights  and  lighter  tones,  will 
produce  innumerable  interesting  tone- 
and-tint  effects. 

If  your  picture — or  your  program,  for 
that  matter — inins  more  than  a  single 
reel  in  length,  by  all  means  mount  your 
films  on  reels  as  large  as  your  projector 
will  accommodate.  It  reduces  the  num- 
ber of  interruptions  while  the  reels  are 
changed  and  makes  for  a  smoother  show. 

Most  of  the  projectors  using  belt- 
driven  take-up  and  rewinds  can  be  altered 
to  take  larger  reels.  In  some  cases  the 
maker  or  some  outside  manufacturer 
will  supply  extension  arms  and,  where 
necessary,  extension  "lifts"  for  the  base 
so  that  the  larger  reel  will  clear  the 
table.  If  these  are  not  available,  as  is 
the  case  with  8mm.  projectors,  you  can 
often  make  your  own  conversion. 

How  Clardy  Did  It 

Randolph  Clardy,  of  the  Los  Angeles 
8mm.  Club,  for  example,  has  converted 
his  Eastman  8mm.  projector  to  accom- 
modate 400-foot  reels.  He  simply  cut  off 
the  arms  carrying  the  feed  and  take-up 
spindles  and  lengthened  them  by  bolting 
on  a  couple  of  heavy  brass  strips. 

Reels — ?  He  simply  fitted  the  sides  of 
400-foot  16mm.  reels  to  standard  200- 
foot  8mm.  reel  hubs! 

But  even  if  you  don't  do  this  at  least 
show  your  audience  the  courtesy  of  sav- 
ing your  rewinding  until  after  the  show. 
Our  modei-n  projectors  rewind  very 
quickly,  but  none  of  them  can  rewind 
fast  enough  to  avoid  an  intrusive  me- 
chanical disturbance  in  the  flow  of  your 
entertainment. 

Another  of  my  friends,  Cinefilmer 
Allen  Smith  of  Los  Angeles,  suggests 
a  helpful  wrinkle  to  those  who,  whether 
with  16mm.  or  8mm.  equipment,  use 
lamps  of  varying  power,  according  to 
the  size  of  picture  to  be  shown. 

Deflecting  Leaks 

He  simply  got  an  extra  supply  of  the 
little  metal  caps  that  are  fitted  to  the 
tips  of  modern  projection  globes.  Instead 
of  changing  the  cap  each  time  he  changes 
lamp  globes  he  keeps  a  cap  permanently 
on  each  globe.  And  each  cap  is  marked 
to  indicate  the  power  of  its  globe. 

If  you've  tried  to  decipher  the  mark- 
ings on  a  slightly  blackened  projection 
globe  you'll  appreciate  the  value  of  this ! 


Another  useful  idea  is  to  make  a 
shield  which  will  deflect  the  leaked  light 
from  the  top  of  the  lamphouse.  With 
a  cylindrical  lamphouse,  such  as  we  find 
on  Bell  and  Howell  projectors,  we  can 
make  a  miniature  stovepipe  elbow  of 
brass  which  will  fit  down  over  the  lamp- 
house  and  deflect  the  light  backward, 
without  obsti-ucting  the  ventilation. 

With  a  square  lamphouse,  a  flat  piece 
of  brass,  rather  like  an  apron  in  shape, 
can  be  cut  out.  The  apron  proper  can 
then  be  folded  to  form  three  sides  of  a 
cube,  while  the  apron  string  part  of  the 
metal  can  be  used  to  clamp  the  hood  on 
to  the  lamphouse. 


NATURAL  COLOR 

Enlargement  Prints  j 
From  KODACHROME 
and  DUFAYCOLOR 

5x7  Prints,  $10;  8x10  Prints,  $15; 
11x14  Prints,  $20 

(then  cost  more  and  arc  worth  more) 

We  make  only  QUALITY  prints  and  GUAR- 
ANTEE Satisfaction   and    PROMPT  DELIVERY 

/;  your  local  photographic  dealer  cannot  (live 
ijou  our  service,  send  nour  t ransiiarencics 
to  us. 

HESSERCOLOR  CORP. 

6605  Hollywood  Blvd.  Hollywood,  Calif. 

Dealers   write  for  terfiis 


CAMERAMAN'S 
PERFECT 
EQUIPMENT 

THE 


GOERZ 


KINO-HYPAR  F2,7  15  mm 
WIDE-ANGLE  LENS 
and  the 

KINO-HYPAR  F2.7  75  mm  (3") 
for  LONG-DISTANCE  SHOTS 
and  CLOSE-UPS 

can  now  be  had  as  Standard  Equip- 
ment   with    the    BO  LEX  16mni 
MOVIE  CAMERA.     Other  focal 
lengths  can  also  be  supplied. 
The   distributors   of   the  precision- 
built    BOLEX    camera    made  this 
choice  after  a  thorough  test  of  the 
American-made  GOERZ  LENSES  to 
assure  their  customers  of  the  best 
possible  picture  results. 

Specify  GOERZ  LENS  EQUIP- 
MENT when  purchasing  the 
BOLEX  CAMERA  from  the 
American  Bolex  Company  or 
authorized  Bolex  dealers. 

For    further    lens  information 
address  Dept.  A.C.IO 


CP. GOERZ  AMERICAN  OPTICAL  CO. 


317  E.  34  St.  New  York,  N.  Y. 

American     Lens    Makers    Since  1899 


For  either  of  these  types  the  brass 
should  be  blackened  chemically  rather 
than  painted,  for  the  device  will  be  ex- 
posed to  considerable  heat.  To  blacken 
the  brass  make  one  solution  of  200 
grains  of  copper  nitrate  in  one  ounce  of 
water,  and  another  of  200  grains  of  sil- 
ver nitrate  in  an  ounce  of  water.  Mix 
equal  parts  of  these,  and  place  the  brass 
in  the  solution  for  a  few  minutes,  there- 
after removing  the  brass  and  heating 
it. 

Cleanliness  is  an  important  part  of 
home  movie  showmanship.  Before  the 
show  make  sure  the  lens  and  aperture 
of  the  projector  are  clean  and  the  film 
itself  also  is  clean. 

Here's  a  helpful  aid  in  cleaning  film: 
sew  a  square  of  lintless,  soft  cloth — flan- 
nel is  best — to  the  thumb  and  forefinger 
of  an  old  glove,  preferably  a  left-hand 
glove  unless  you  are  a  southpaw. 

Show  Complete  Films  Only 

Finally,  remember  to  practice  show- 
manship in  your  program,  as  well  as  in 
the  way  you  present  it.  Give  your  own 
films  the  advantage  of  being  presented 
publicly  only  when  they  are  complete — 
titled  and  edited. 

If  you  are  showing  your  own  films  on 
a  "double  feature  bill"  with  profes- 
sionally-made library  films,  arrange 
their  order  to  give  the  advantage  to 
your  own  photography.  In  other  words, 
unless  the  professional  films  are  old,  or 
your  own  photography  of  definitely  out- 
standing merit,  show  your  own  pictures 
first.  They'll  seem  much  better! 

The  same  applies  to  double-billing 
monochrome  and  color.  The  color  should 
follow  the  black-and-white,  rather  than 
precede  it,  for  after  a  reel  or  two  of 
color,  monochrome  seems  to  have  some- 
thing missing. 

In  many  years  of  arranging  club 
showings  of  prize  films  from  the  Amer- 
ican Cinematographer's  International 
Amateur  Movie  Contest  I  have  found 
only  one  black-and-white  film  which 
could  immediately  follow  color  films  and 
still  create  its  full  impression. 

This  is  Tsukamoto's  1937  photogra- 
phy award  winner,  "Mount  Zao." 

Perhaps  you  have  a  monochrome  film 
of  equal  virility.  If  you  have  here's  hop- 
ing we  will  see  it  in  this  year's  contest. 
But  if  you  haven't  remember  in  arrang- 
ing home  programs  to  play  your  strong- 
est card  last — and  color  is  the  cinefilm- 
er's  strongest  card. 


Los  Angeles  8mm.  Club 

At  the  September  meeting  of  the  Los 
Angeles  8mm.  Club  the  matter  of  insur- 
ance for  camera  equipment  was  fully 
explained  by  Ed  Pyle. 

Mr.  Sievers  of  the  Weston  Electrical 
Instrument  Corporation  gave  an  inter- 
esting and  instructive  presentation  of 
the  methods  of  using  his  company's 
meters,  including  all  models.  There  was 
wide  discussion. 

Mr.  Hughett  gave  a  demonstration  of 
home  processed  film. 

Bill  Stull  projected  several  reels  of 
film  that  had  been  exposed  by  a  friend 
on  major  studio  locations,  showing  how 
members  of  a  troupe  pass  the  time  be- 
tween scenes. 


440     American  Cinematographer  • 


October,  1938 


Puppet  Film  Stirring 

The  Cinema  has  a  sensational  new 
"find" — no  Scandinavian  pflamor  girl  this 
time,  but  a  humorous  new  type  of  flex- 
ible rubber  figurine  to  be  featured  in  a 
Technicolor  puppet  film  which  promises 
to  be  as  new  to  the  film  world  as  was 
"Snow  White,"  according  to  Joseph 
Losey,  its  producer.  The  film  will  be 
presented  at  the  Petroleum  Industry 
Exhibition  at  the  New  York  World's 
Fair. 

The  puppet  characters,  designed  by 
Howard  Bay,  scenic  designer  and  created 
and  animated  by  Louis  Bunin,  noted 
puppeteer,  are  flexible  enough  to  express 
the  whole  range  of  the  emotions. 

"They  make  possible  a  medium  for 
film  fantasy  possessing  all  the  appeal 
of  the  animated  cartoon,  but  with  three- 
dimensional  depth  and  with  greater 
mobility,"  according  to  Mr.  Losey. 

The  illusion  of  animation  for  the  film 
is  secured  by  moving  the  puppets  frac- 
tionally from  one  position  to  the  next. 

T 

One  Cine  Dream  Comes  True 

(Continued  from  Page  427) 

The  loudspeaker  will  be  directly  under 
the  screen,  and  this  will  be  coupled  to 
a  major  sound  apparatus  of  high  fidel- 
ity. Triple  turntable  phonographic  re- 
production apparatus  will  be  available 
for  use  with  silent  film. 

Pleasure  and  Business 

"Apart  from  the  enjoyment  I  get  in 
showing  personal  films  in  the  theater 
it  is  very  useful  for  any  professional 
work,  and  the  room  also  is  suitable  for 
discussing  pros  and  cons  of  clients'  sub- 
jects," writes  the  builder. 

The  room  is  completely  sound-proof, 
which  means  a  sound  film  may  be  trav- 
eling over  the  reel  and  the  resulting 
volume  will  not  disturb  the  meditations 
or  conversation  of  any  others  who  may 
be  remaining  in  the  house  proper.  The 
walls  are  decorated  in  bright  fashion. 

A  huge  fireplace  of  red  brick  adds 
to  the  charm  of  the  room.  Concealed 
lighting  may  be  dimmed  from  the  oper- 
ator's room.  The  specially  sprayed  screen 
is  about  3V2  by  41/2  feet.  It  has  been 
erected  so  as  to  be  optically  correct.  To 
achieve  this  special  attention  has  been 
paid  to  the  position  of  the  seats. 

The  screen  is  set  off  by  an  attractive 
proscenium  opening.  The  front  curtains 
will  be  worked  by  a  motor  direct  from 
the  projection  room.  This  later  depart- 
ment will  delight  the  heart  of  any 
mechanical  or  film  engineer.  It  is  neat- 
ly arranged.  Provision  has  been  made 
for  two  machines. 

Sound  equipment  is  to  be  installed,  if 
by  this  time  it  already  has  not  been.  In 
the  lobby  hang  photographic  awards,  tro- 
phies of  Mr.  Chapman's  photographic 
skill. 

Acknowledgement  is  made  to  the 
Bournemouth  Daily  Echo,  a  part  of 
whose  story  re-echoes  in  this  description 
of  the  Chapman  theater — and  due  credit 
and  thanks  are  hereby  extended. 


STATEMENT  OF  THE  OWNERSHIP,  MANAGE- 
MENT,  CIRCULATION.   ETC.,   REQUIRED  BY 
THE   ACTS   OF   CONGRESS   OF   AUGUST  24, 
1912,  AND  MARCH  3,  1933 

Of  American  CincmatoKraphjT,  published  monthly 
at  Los  Angeles,  Calif.,  for  October  1,  1938. 
Stale  of   California  ) 
County  of  Los  AnKeles  ) 

Before  me,  a  Notary  Public  in  and  for  the 
State  and  county  aforesaid,  personally  appeared 
George  Blaisdell,  who,  havinif  been  duly  sworn 
accordinK  to  law,  deposes  and  says  that  he  is  the 
editor  of  the  American  Cinema  toKrapher,  and 
that  the  followintt  is,  to  the  l>est  of  his  knowledtfe 
and  belief,  a  true  statoment  of  the  ownership, 
management,  etc.,  of  the  afore.said  publication 
for  the  date  shown  in  tho  above  caption,  required 
by  the  Act  of  August  24,  1912,  as  amended  by 
the  Act  of  March  3,  1933,  embodied  in  section 
•")37,  Postal  Ijiws  and  Regulations,  printed  on  the 
reverse  of  this  form,  to  wit: 

1.  That  the  names  and  addresses  of  the  pub- 
lisher, editor,  and  managing  editor  are: 

Publisher,  American  Society  of  Cinematogra- 
phers.  Inc..  Los  Angeles.  Calif.  ;  editor,  George 
Blaisdell,  Los  Angeles,  Calif.  ;  managing  editor, 
Geon;e  Blaisdell. 

2.  That  the  owner  is:  (If  owned  by  a  corpora- 
tion, its  name  and  address  must  be  stated  and 
also  immediately  thereunder  the  names  and  ad- 
dresses of  stockholder."  owning  or  holding  one  per 
cent  or  more  of  total  amount  of  stock.  If  not 
owned  by  a  corporation,  the  names  and  addresses 
of  the  individual  owners  must  be  given.  If  owned 
by  ri  firm,  company,  or  other  unincorporated  con- 


CLASSIFIED 


FOR  SALE 


BELL  &  nOVfEht,  SINGLE  SYSTEM,  COM- 
plete ;  rebuilt  B&H  sound  printers;  rebuilt 
Duplex  sound  and  picture  printers ;  200  ft. 
Stinemann  developing  reels ;  used  measuring 
machines.  Complete  Akeley  camera  equipment. 
Akeley  1000-ft.  magazines,  synchronous  camera 
motors.  Motors,  sunshades,  finders,  lenses  and 
all  accessories. 

Write,   wire  or  cable : 

MOTION   PICTURE   CAMERA    SUPPLY,  INC. 

723  Seventh  Avenue  New  York  City 

Cable:  Cinecamera 


THE  WORLD'S  LARGEST  VARIETY  OF 
Studio  and  Laboratory  equipment  with  latest 
improvements  as  used  in  Hollywood  at  tremen- 
dous savings.  New  and  Used.  Mitchell,  Bell- 
howell,  Akeley,  De  Brie,  Eyemo,  animation 
process  cameras,  lenses,  color  magazines,  adapt- 
ors, lighting  equipment,  silencing  blimps,  dollies, 
printers,  splicers,  moviolas,  motors,  light-testers, 
gear  boxes,  synchronizers.  Guaranteed  optically 
and  mechanically  perfect.  Send  for  bargain 
catalogue. 

HOLLYWOOD   CAMERA  EXCHANGE 
1600  Cahuenga  Blvd..  Hollywood,  Calif. 

Cable:  Hocamex 


BELL  AND  HOWELL  170°  CAMERAS— High 
speed  shuttles — high  speed  gear  boxes — 400  and 
1000  foot  Bell  &  Howell  magazines — Bell  & 
Howell  tripods — motors.  Mitchell  silenced  cam- 
eras. AKELEY  and  DEBRIE  CAMERAS.  Akeley 
motors.  High  speed  motors.  Sunshades,  lenses 
and  finders. 

Write  or  Wire 
CAMERA  EQUIPMENT  COMPANY 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 


DE  BRIE  PARVO— 3"  F3.5  LENS— CASH— 4 
MAGAZINES,  BELL  &  HOWELL  TRIPOD, 
$125.00 — DEVRY— EYEMO— BELL  &  HOWELL 
PROFESSIONAL  400—1000  FT.  MAGAZINES. 
WE  BUY  .  .  .  TRADE  .  .  .  SELL. 

THE    CAMERA    MART,  INC. 
701  West  45th  Street,  New  York  City 


35MM  EYEMO  TURRET  WITH  47MM  F:2.5 
Cooke,  3%"  F:3.3.  Cooke,  6"  F:4.5  Dallmeyer, 
case,  $318.00.  DeVry,  $675.00.  Portable  35mm 
SOF  complete  projector,  amplifier,  speaker, 
tubes,  cell.  $188.00.  Holmes  35mm  silent  port- 
able, $39.50.  Acme  SVE,  $31.00.  Victor,  $425.00. 
16mm  complete  sound  projector.  $210.00.  Most 
complete  stock  used,  new,  8-9^  i-16-35mm  equip- 
ment, parts.  Photographic  supplies.  8-16mm 
sound,  silent  library;  request  catalogues.  Trades 
accepted,  bought. 

MOGULL'S,   57   West  48th,  New  York  City 


cern,  its  name  and  address,  as  well  as  those  of 
each  individual  member,  must  be  given.)  The 
American  Society  of  Cintmatographers,  Inc.,  Los 
Angeles,  Calif.;  Victor  Milner,  President,  I>js  An- 
geles, Calif.  No  capital  Bt(x-k. 

3.  That  the  known  bondholders,  mortgagees, 
and  other  security  holders  owning  or  holding  1 
per  cent  or  more  of  total  amount  of  bonds,  mort- 
gages, or  other  securities  are:  None. 

4.  That  the  two  paragraphs  next  above,  givinK 
the  names  of  the  owners,  stockholders,  and 
security  holder.^,  if  any,  contain  not  only  the  list 
of  stockholders  and  security  holders  as  they  appear 
upon  the  books  of  the  company  but  al«o,  in  cases 
where  the  stockholders  or  security  holder  appears 
upon  the  books  of  the  company  as  trustee  or  in 
any  other  fiduciary  relation,  the  name  of  the  per- 
son or  corporation  for  whom  such  trustee  is  act- 
ing, is  given  :  also  that  the  said  two  paragraphs 
contain  statements  embracing  affiant's  full  knowl- 
edge and  belief  as  to  the  circumstance->  and  condi- 
tions under  which  stockholders  and  security  holders 
who  do  not  appear  upon  the  books  of  the  company 
as  trustees,  hold  stock  and  securities  in  a  capacity 
other  than  that  of  a  bona  fide  owner ;  and  this 
affiant  has  no  reason  to  believe  that  any  other 
person,  association,  or  corporation  has  any  inter- 
est direct  or  indirect  in  the  said  stock,  bonds,  or 
other  securities  than  as  so  stated  by  him. 

(Signed)    GEORGE  BLAISDELL,  Editor. 
Sworn  to  and  subscribed  before  me  this  2l8t 
day  of  September,  1938. 

(Seal)  JNO.  A.  ERNST.  Notary  Public. 

In  and  for  the  county  of  Los  Angeles,  State 
of  California. 

(My  commission  expires  July  24,  1942.) 


ADVERTISING 


FOR  S.ALE — Rebuilt  silenced  or  high  speed 
Mitchell  camera  with  standard  equipment;  fac- 
tory guaranteed.  Write  or  wire  Mitchell  Cam- 
era Corporation,  665  North  Robertson  Blvd., 
West  Hollywood,  California.  Cable  address: 
MiTCAMCO. 


WE  BUY,  SELL  AND  RENT  PROFESSIONAL 
AND  16  mm  EQUIPMENT  NEW  AND  USED. 
WE  ARE  DISTRIBUTORS  FOR  ALL  LEAD- 
ING MANUFACTURERS.  RUBY  CAMERA 
EXCHANGE,  729  Seventh  Ave.,  New  York  City. 
Established  since  1910. 


NEW  PRECISION  TEST  REEL  FOR  PROJEC- 
tion  and  Sound.  Developed  by  prominent  SMPE 
member.  Combination  visual,  sound  tests  for 
all  soundtrack  adjustments.  Indicates  travel 
ghost,  sidesway,  picture  jump,  etc.  Contains 
visual  targets  and  constant  level  frequencies. 
W.  E.  Mirrophonic  recording.  Truly  simpli- 
fied, easily  understood.  Comparative  value, 
$75.00.  With  full  instructions,  $29.50.  16mm 
edition,  $17.50.  S.O.S.,  636 — 11th  Ave..  New  York. 


WANTED 


WE  PAY  CASH  FOR  YOUR  USED  CAMERA, 
LABORATORY    AND    STUDIO  EQUIPMENT. 

Write,  wire  or  cable 
MOTION    PICTURE   CAMERA    SUPPLY,  INC. 
723  Seventh  Avenue,  New  York  City 
Cable  Address :  Cinecamera 


WE  PAY  CASH  FOR  EVERYTHING  PHOTO- 
GRAPHIC. Write  us  today.  Hollywood  Camera 
Exchange.   1600   Cahuenga  Blvd.,  Hollywood. 

WANTED  TO  BUY  FOR  CASH 
CAMERAS  AND  ACCESSORIES 
MITCHELL,  B&H.  EYEMO,  DEBRIE,  AKELEY 
ALSO    LABORATORY    AND    CUTTING  ROOM 
EQUIPMENT 
CAMERA  EQUIPMENT  COMPANY 
1600  BROADWAY,  NEW  YORK  CITY 
CABLE:  CINEQUIP 


WANTED  — LATE  MODEL  EYEMO  WITH 
lenses.  State  all  in  first  letter.  Douglas  K. 
Perry,  P.  O.  Box  651,  Tyler,  Texas. 


WANTED— 2  SILENCED  MITCHELL  CAMERAS 
with  equipment.  Cash  paid. 

CAMERA  EQUIPMENT  COMPANY 
1600  Broadway,  New  York  City 
Cable:  CINEQUIP  Tel.  Circle  6-5080 


WANT  TO  TRADE— GRAFLEX  3Hx5i.>  WITH 
HOLDER  FOR  TWELVE  CUT  FILMS.  ALSO 
PACK  ADAPTER.  KODAK  F4.5  LENS  AND 
SOLID  LEATHER  CASE.  ALL  IN  EXCEU 
LENT  CONDITION  FOR  STANDARD  BELL 
&  HOWELL  I  SHUTTLE.  WRITE  GERDEN 
RUSSELL.  FLORIDA  COMMERCIAL  FILMS, 
21  N.  OCEAN  ST.,  JACKSONVILLE,  FLA. 


What  a 


DIFFERENCE 


The  RIGHT  Screen  Makes 

1.  In  Bi'ightei*  Pictures  t 

You  will  be  amazed  when  you  see  how  much 
brighter  your  pictures  are  on  a  Da-Lite  Glass- 
Beaded  Screen.  Its  millions  of  tiny  glass  beads 
and  pure  white  fabric  bring  out  details  and  fine 
gradations  of  tones  with  remarkable  brilliance. 

The  beads  are  guaranteed  not  to  shatter  off.  The 
screen  stays  white  longer  than  any  other  white 
surface  and  remains  pliable  indefinitely. 

2.  In  Greater  Convenience! 

Da-Lite  Glass-Beaded  Screens  have  many  ad- 
vanced, exclusive  features  that  make  for  easier 
operation.  The  Challenger  shown  above  can  be 
set  up  in  15  seconds.  It  consists  of  a  Da-Lite 
Glass-Beaded  Screen,  roller-mounted  in  a  metal 
case  to  which  a  tripod  is  permanently  and 
pivotally  attached.  It  is  adjustable  in  height. 
SQUARE  tubing  (an  exclusive  Da-Lite  feature), 
in  the  tripod  and  the  extension  support,  holds 
the  screen  rigid  and  in  perfect  alignment. 

3.  In  Longer  Service! 

Da-Lite  Glass-Beaded  Screens  stand  up  well 
under  rough  handling  because  they  are  made 
by  experienced  craftsmen  using  only  parts  of 
highest  quality.  They  are  available  in  many 
types  of  mountings,  including  table  models,  the 
Challenger,  and  the  new  electrically  operated 
Da-Lite  Electrol  hanging  screen.  Write  for  lit- 
erature and  name  of  nearest  dealer! 


DA4!TF 


Req.  U.  S.  Pat.  Off. 


SCREENS 


DA-LITE  SCREEN  CO.,  INC. 

Manufacturers  of  Theatrical  and  IS  on-Professional 
Screens  with  All  Types  of  Surfaces  and  Mountings 

DEPT.  lOAC,  2723  N.  CRAWFORD  AVENUE,  CHICAGO,  ILLINOIS 


BUILTTO'TAKEir 

•  The  De  Vry  35mm.  Sound  Camera,  for  single  or  double  system, 
or  bipack  color  photography,  has  proven  itself  to  be  a  real  "Ace" 
of  sound  cameras. 

•  Sturdily  built,  every  part  precision-made  and  precision-tested, 
De  Vry's  offers  you  the  assurance  of  sharper,  clearer  pictures,  even 
under  the  often-adverse  conditions  of  newsreel  work. 

•  May  we  send  you  complete  details  of  this  truly  modern  camera, 
in  a  fully  illustrated  pamphlet?    No  obligations,  of  course. 

•  DISCRIMINATING  AMATEURS,  TOO,  WILL  APPRECIATE  De 
Vry  professionally-made  16mm.  camera.  Model  70  is  reasonably 
priced,  yet  features  the  same  durable  constructions  and  dependable 
craftsmanship  as  the  De  Vry  Model  A  silent  newsreel  camera,  and 
the  De  Vry  de  Luxe  35mm.  sound  camera.  Send  for  description 
and  price. 

AT  YOUR  SERVICE 

25  years  of  constant  experimentation  and  re- 
search of  De  Vry  Engineers  is  your  assurance  of 
"Quality  with  a  Purpose."  De  Vry  serves  you 
with  a  complete  line  of  sound  and  silent  cameras, 
as  well  as  projectors,  which  answer  every  purpose 
and  every  need. 

DeVRY  CORPORATION 

Department  J-2  II  II  Armitage  Ave.,  Chicago,  III. 

Hollywood  Branch 
5646  Hollywood  Blvd. 


the  date  of  Closing 


for  th< 


American  Cinematographer 

International 
1938  Amateur  Competition 

Midnight,  Oct  31,  1938 


Built  for  Service... 

MITCHELL 

Cameras  and  Recorders 


Designed  and  precision 
built  to  give  long  and 
satisfactory  service* 

Used  hy  leading  film  producers 
throughout  the  worlds 


Mitchell  Camera  Corporation 

665    NORTH    ROBERTSON  BOULEVARD 
WEST    HOLLYWOOD.  CALIF. 

Cable  Address  "MITCAMCO"  Phone  OXford  1051 

AGENCIES 

BELL  &  HOWELL  CO.,  LTD.,  London,  England  MOTION  PICTURE  CAMERA  SUPPLY,  INC.,  New  York  City 

CLAUD  C.  CARTER.  Sydney.  Australia  BOMBAY  RADIO  CO.,  LTD.,  Bombay,  India 

D.  NAGASE  &  CO..  LTD..  Osaka,  Japan  H.  NASSIBIAN,  Cairo,  Egypt 


[ovember 
1938 

25c 

Foreign  35c 

ilished  in  Hollywood  by 
American    Society  of 
Cinemaiographers 


^hot's  Wrong  with 
Cinematography? 
» 

four  Still  Cameras 
Needed  on  Set 

CHAPMAN 
* 

Camera  Hazards  in 
Jungles 
• 

Close-Up  Story 
Filming 

SPRUNGMAN 
* 

[Gets  in  Your  Blood 

LYFORD 
* 

fystematic  Editing 
SCHMIDT 

Raising  Stills  from 
16mm. 
MUELLER 


Gable  and  Loy  in 
Hot  to  Handle'— MGM 


Reputation  for  top  photo- 
graphic quality  is  no  accident. 
Superior  Pan  comes  by  its  good 
name,  because  of  its  proven 
ability  to  produce  a  good  nega- 
tive. It  picks  up  the  detail  in 
shadows,  and  records  highlights 
brilliantly  without  plugging.  Its 
pleasing  gradation  gives  middle 
and  quarter  tones  their  full 
value.  And  its  color  sensitivity 
is  balanced  to  approach  closely 
that  of  the  eye. 

For  superb  photography  in 
your  next  production,  rely  on 
Du  Pont  Superior  Pan. 


Du  Pont  Film  Manufacturing  Corporation 

INCORPORATED 

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BETTER  THINQS  for  BETTER  LIVINQ  through  CHEMISTRY 


November,  1938 


American  Cinematographer  441 


EYEMO  HAS  three-lens  turret,  focusing  and  diaphragm  controls 
visible  through  the  viewfinder,  and  many  other  features  making 
it  an  instrument  of  unexcelled  performance. 

SEND  THIS  COUPON  NOW  and  get  complete  information  describing 
the  Eyemo  in  detail.  Bell  &  Howell  Company,  1848  Larchmont 
Ave.,  Chicago.  New  York,  30  Rockefeller  Plaza;  Hollywood,  716 
N.  LaBrea  Ave.;  London,  13-14  Great  Castle  St.  Established  1907. 


Escaping  Cameraman!  Above— Kyemo 
cameraman  Chen  Cheng  hides  in  a  held 
during  thrilling  escape  from  Hsuchow. 
Photo  taken  by  companion  who  was 
trapped  in  Hsuchow  with  Cheng 

\^iy~Vice-Preside7tt  Lo  (second  from 
leftj  and  three  of  his  Eyemocameramen 


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Send  copy  of  Eyemo  catalog. 

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442     American  Cinematographer    •    November,  1938 


There's  a  new  speed  limit 
in  Hollywood 


All  Hollywood  is  talking  about  speed  these  days  .  .  .  the  heretofore 
unheard-of  speed  of  Agfa's  two  new  35  mm.  films. 

The  scope  of  photography,  limited  by  the  speed  of  previously  available 
films,  has  been  extensively  widened  by  AGFA  SUPREME,  which  is 
twice  as  Jast  as  Superpan!  .  .  .  and  by  AGFA  ULTRA -SPEED  PAN, 
which  is  three  times  as  fast  as  Superpan! 

In  spite  of  its  amazing  speed,  SUPREME  shows  great  improvements 
in  grain  size,  color  balance  and  gradation  over  Superpan  and  other 
comparable  supersensitive  films. 

ULTRA-SPEED  PAN,  designed  for  newsreel  photography,  is  being 
widely  used  in  Hollywood  whenever  extreme  speed  is  called  for. 

These  two  new  Agfa  films,  recognized  by  the  Academy  of  Motion  Picture 
Arts  and  Sciences  as  the  greatest  contribution  to  the  technical  advance 
of  the  industry  during  1937,  are  available  today.  Try  them  ...  at  once! 
Made  by  Agfa  Ansco  Corporation  in  Binghamton/  New  York. 

AGFA  RAW  FILM  CORPORATION 


HOLLYWOOD 

6424  Santa  Monica  Blvd. 
Tel.  Hollywood  2918 


NEW  YORK 

245  West  5  5th  Street 
Tel.  circle  7-4635 


November,  1938    •    American  Cinematographer  443 


AMERICAN 
CINEMATOGRAPHER 


A  Technical  and  Educational  publication 
on  motion  picture  photography. 
Published  monthly  by  the 

AMERICAN  SOCIETY 

OF  CINEMATOGRAPHERS,  INC. 

1782  North  Orange  Drive 

Hollywood  (Los  Angeles),  California 

Telephone  GRanite  2135 

VICTOR  MILNER,  President. 
FRED  W.  JACKMAN,  Treasurer. 


Vol.  19 


November,  1938 


No.  11 


Contents 


Stillman    really    needs    four  cameras 

today   445 

By  Jay  Chapman 

What  is  wrong  with  present  day  cine- 
matography?  449 

Kodak  issues  Kodachrome  in  cut  films 
for   professionals  450 

Dallmeyer   makes   record   Dallon  tele- 
photo  lens  of  8%  inches  diameter.  .450 

Camera  hazards  abound  451 

By  George  Blaisdell 

Reeves'  single  system  sound  fits  any 
camera   455 

Eastman  adds  TVa  acres'  floor  space  to 
camera  works  455 

New  Berndt-Maurer  sound  track  456 

Engineers  to  discuss  thirty  papers  at 
meeting   458 


The  Front  Cover 

FOR  the  month  of  September 
The  Hollywood  Reporter  poll 
selected  M.G.M.'s  "Too  Hot  to 
Handle"  as  the  best  photographed 
subject.  Hal  Rosson,  A.S.C.,  was 
director  of  photography.  Ray  June, 
A.S.C.,  contributed  scenes  on  the 
home  lot,  while  Clyde  De  Vinna, 
A.S.C.,  and  a  crew  traveled  to 
South  America  to  record  the  beau- 
tifully picturesque  jungle  and  river 
backgrounds. 

Clark  Gable  and  Myrna  Loy  have 
the  leads  in  this  stirring  melo- 
drama of  the  newsreeler  and  the 
flyer-adventurer.  It  is  hard  to  be- 
lieve the  role  of  the  former  will  not 
be  applauded  by  the  members  of 
the  two-fisted  craft  he  was  chosen 
to  portray. 

The  still  was  photographed  by 
Clarence  Bull. 


The  Staff 


EDITOR 

George  Blaisdell 

WASHINGTON 
STAFF  CORRESPONDENT 

Reed  N.  Haythorne,  A.  S.  C. 

TECHNICAL  EDITOR 

Emery  Huse,  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 
Victor  Milner,  A.  S.  C. 
James  Van  Trees,  A.  S.  C. 
Fred  W.  Jackman,  A.  S.  C. 
Farciot  Edouart,  A.  S.  C. 
Fred  Gage,  A.  S.  C. 
Dr.  J.  S.  Watson,  A.  S.  C. 
Dr.  L.  A.  Jones,  A.  S.  C. 
Dr.  C.  E.  K.  Mees,  A.  S.  C. 
Dr.  W.  B.  Rayton,  A.  S.  C. 
Dr.  Herbert  Meyer,  A.  S.  C. 
Dr.  v.  B.  Sease,  A.  S.  C. 

CIRCULATION  MANAGER 
L.  F.  Graham 

NEW  YORK  REPRESENTATIVE 

S.  R.  Cowan,  19  East  47th  St.,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 

Georges  Benoit,  100  Allee  Franklin, 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 

AUSTRALIAN  REPRESENTATIVE 

McGill's,  179  Elizabeth  Street,  Melbourne, 
Australian  and  New  Zealand  agents. 

Neither  the  American  Cinematographer  nor 
the  American  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. 


ESTABLISHED  1920.  Advertising  Rates  on  application.  Subscription:  United  States,  $2.50  a  year;  Canada  and  the  Pan-American  Union.  $2.50  a  ye.Tr; 
foreign,  $3.50  a  year.  Single  copies.  25  cents;  back  numbers,  30  cents;  foreign,  single  copies,  35  cents;  back  numbers,  40  cents.  COPYRIGHT  1938  by 
American  Society  of  Cinematographers,  Inc. 


Entered  as  second  cla3.s  matter  November  18,  1937,  at  the  postoffice  at  Los  Angeles,  California,  under  the  Act  of  March  3,  1879. 


444     American  Cinematocrapher    •    November,  1938 


TOP  RANK 


EASTMAN  Super  X  won  its  top  ranking  on 
performance.  The  results  obtained  from 
its  combination  of  speed,  fine  grain,  and 
general  photographic  quality  make  it  the 
world's  first  choice  in  negative  materials. 
Eastman  Kodak  Company,  Rochester,  N.  Y. 
(J.  E.  Brulatour,  Inc.,  Distributors,  Fort 
Lee,  Chicago,  Hollywood.) 


EASTMAN  SUPER  A 

PANCHROMATIC  NEGATIVE 


November,  1938    •    American  Cinematographer  445 


TILLMAN 
REALLY 
NEED 
FOUR 
CAMERA. 
TODAY 


By  JAY  CHAPMAN 

All  photos  used  in  this  story  are  reproductions  of  Leica  shots 
on  Warner  Brothers'  First  National  Pictures. 


Dick  Powell  in  "Going  Places,"  Warner  Brothers' 
First  National  Picture. 


FOUR  cameras,  not  just  one,  consti- 
tute full  equipment  for  the  motion 
picture  still  photographer  of  today. 
He  needs  them  on  indoor  sets  or  outdoor 
locations. 

For  him,  there  isn't  any  one  camera 
that  fills  all  the  requirements  of  the 
conditions  under  which  he  works — nor 
any  combination  less  than  four  that 
quite  does  it,  although  three  will  almost 
fill  the  bill. 

He  needs  his  big  8  by  10,  his  Graphic 
with  its  speed  gun,  his  Graflex,  and  his 
Leica  or  other  corresponding  small,  noise- 
less camera  of  great  lens  speed — need.s 
them  just  as  much  as  a  carpenter  needs 
a  separate  saw,  hammer,  plane  and  steel 
square,  rather  than  any  combination  of 
these  wood-working  tools. 

Most  Necessary 

In  an  emergency  either  the  big  8  by  10 
on  its  tripod  or  the  tiny  Leica  could  cover 
nearly  the  whole  field  of  his  require- 
ments. So,  naturally,  could  the  Graphic 
or  Graflex.  But  using  any  "job"  outside 
the  regular  field  established  for  it  by 
modern  practice  under  actual  working 
conditions  would  be  neither  efficient  not- 
economical. 


Because  the  Leica  has  lately  become 
one  of  the  most  necessary  of  the  four 
items  of  a  still  photographer's  equipment, 
rather  than  the  least  necessary,  this  ar- 
ticle concei'ns  itself  mainly  with  this  lat- 
est addition  to  still-taking  equipment. 

Before  showing  its  fourfold  duty,  how- 
ever, let  us  for  clarity  examine  briefly 
the  functions  of  its  bigger  brothers  and 
the  reason  they  are  indispensable  if  the; 
greatest  efficiency  is  to  be  attained. 

Speed  and  economy  in  processing  its 
shots  holds  the  big  8  by  10  in  its  familiar 
position  on  movie  sets.  It  delivers  a  full- 
sized  negative  that  is  ready,  with  the 
least  waste  of  time,  to  offer  prints  in 
the  standard  size  of  8  by  10,  or  blown- 
up  prints  from  retouched  negatives. 

Graphic  Essential 

Time  is  saved  (a)  in  retouching,  which 
is  nearly  always  necessary  for  studio 
purposes;  (b)  in  contact  printing  the 
8  by  10s,  and  (c)  in  enlargements  in 
which  fine-grain  problems  and  careful 
processing  need  not  be  considered. 

Economy  enters  through  the  time  ele- 
ment and  as  follows:  (a)  skilled  photog- 
raphers rarely  "miss"  on  an  8  by  10 
plate,  within  its  field;  (b)  the  saving  of 


contact  printing  over  enlarging  and  (c) 
saving  in  retouching  and  print-spotting 
costs. 

The  Graphic  with  its  speedgun,  shoot- 
ing flash  bulbs  synchronized  with  the 
shutter,  has  proved  itself  an  essential 
tool  in  overcoming  bad  lighting  condi- 
tions indoors  or  in  the  shade  or  bad 
weather — and  in  supplying  "fill  in"  light 
from  its  flashes  where  an  outdoor  light 
is  too  contrasty.  It  saves,  very  often, 
the  use  of  any  artificial  light  indoors 
and  reflectors  outdoors. 

The  Graflex  has  its  uses,  always,  where 
extremely  high  shutter  speed  is  needed 
(as  in  fast  action)  and  it  is  also  neces- 
sary to  focus  accurately  and  keep  in 
focus  on  ground  glass. 

Which  brings  us  to  the  Leica  and  the 
four  principal  fields  of  usefulness  it 
dominates  completely  on  the  modern  mo- 
tion picture  set: 

1.  Catching  shots  close  enough  to  the 
mici'ophones  so  that  any  camera  with  a 
noisier  shutter  would  be  heard  on  the 
sound  track. 

2.  Eliminating,  because  of  its  great 
lens  speed,  the  need  for  a  flash  bulb, 
when  during  actual  motion  scene  shoot- 


446     American  Cinematographer    •    November,  1938 


ing  the  .flash  would  "kill"  the  scene  for 
the  motion  cameras. 

3.  Securing  genuine  "candid"  shots  of 
stars  and  others  because  of  its  small  size 
and  lens  speed  and 

4.  Getting  shots  impossible  with  tho 
other  cameras  because  of  awkwardness 
of  position. 

Of  course,  there  are  other  points.  Not 
the  least  of  these  is  that  the  still  pho- 
tographer usually  wears  his  L.eica  around 
his  neck  by  its  strap  and  is  always 
ready  to  get  a  "shot"  he  might  lose 
if  he  had  to  look  for  and  pick  up  one 
of  his  other  cameras,  even  if  near  ix 
hand. 

Nobody  "wears"  a  Graphic  or  a  Gra- 
flex,  and  we  have  yet  to  see  a  still 
photographer  who  was  so  conscientious 
that  he  was  never  without  one  or  the 
other  in  his  hand,  cocked  and  ready  for 
action,  flash  bulb  in  place  and  spare  film, 
holders  and  flash  bulbs  bulging  the  shape 
out  of  his  coat  pockets! 

Five  Cameras  on  Location 

Warner  Brothers  try  to  equip  their 
still  photographers  with  the  full  battery 
of  cameras,  and  when  one  is  slighted  it 
is  the  Graflex.  This  is  no  reflection  on 
the  usefulness  of  the  famous  reflecting 
camera,  but  is  the  result,  rather,  of  being 
able  to  forsee  whether  or  not  it  will  be 
required  on  any  day's  schedule  of  scenes. 

At  times  Warners'  go  even  farther  in 
equipping  still  photographers.  One  of 
their  aces,  "Mac"  MacJulian,  took  five 
cameras  along  to  Big  Bear  and  other 
locations  where  the  Royal  Canadian 
Mounted  Police  drama,  "Heart  of  the 
North,"  was  filmed. 

The  picture  was  being  shot  in  Techni- 
color throughout,  and  the  beautiful  lake, 
mountain  and  river  scenery,  as  well  as 
the  scarlet  coats  of  the  "Mounties," 
cried  for  color  photography.  So  he  car- 
ried color  film  as  well  as  black-and-white 
for  his  8  by  10,  his  Graphic,  his  Graflex 
and  two  35mm.  "jobs." 

The  reason  for  the  extra  miniature 
camera  was  this:  it  was  easy  enough — 
and  the  work  of  but  a  moment — to  insert 
either  back-and-white  or  Dufaycolor  film 
into  the  bigger  cameras,  but  hardly  prac- 


On  Page  Opposite 

1.  John  Rcdien  and  Wally  Rair- 
(Icii,  David  Niven  and  En'ol  Flynn 
on  way  to  luncheon  from  "Dawn 
Patrol"  net,  Flynn  with  plans  (dl 
laid  to  play  a  joke  on  his  friend 
Niven.  2.  Flynn,  Niven  and  Peter 
Willen  "come  a  rimnin'  "  in  "Dawn 
Patrol."  .3.  In  "Goiny  Places" 
from  which  this  and  the  renuiinin;/ 
stills  on  this  page  were  taken,  a 
racer  fails  to  make  the  hurdle. 
It.  Harold  Hnlter,  left,  seems  more 
disturbed  than  does  Allen  Jenkins. 
.5.  Walter  Catlett  at  right  is  trying 
somewhat  unsuccessfully  to  calm 
Dick  Powell,  (i.  Jeepcrs  Creepers 
at  the  beginning  of  the  race.  7.  Dick 
Powell  surrounded,  Minna  Gombell, 
Donald  Reagan,  on  the  one  side, 
and  Thurston  Hall  and  Anita 
Louise  on  the  other.  8.  As  Powell 
.lits  at  the  jriano  he  is  surrounded 
by  Anita  Louise,  Janet  Shaiv, 
Minna  Gombell  and  Donald  Reagan. 


tical  to  shift  36-exposure  cartridges  in 
the  little  cameras,  every  time  he  needed 
to  shift.  The  answer  was  to  have  two 
miniatures,  one  loaded  with  color  film, 
the  other  with  speed  "pan." 

One  of  the  great  advantages  of  get- 
ting shots  while  the  actors  are  doing 
their  stuff"  for  the  motion  cameras  in 
what  they  hope  will  be  the  final,  okayed 
"take"  is  illustrated  by  Dick  Powell  in 
a  shot  Mickey  Marigold  secured  with  a 
Leica  during  the  filming  of  "Going 
Places." 

Making  Faces 

Powell,  facing  the  camera  in  a  scene 
with  Walter  Catlett,  is  making  a  face 
the  like  of  which  any  actor  is  liable  to 
make  during  the  fleeting  moment  of  a 
film  scene.    But  it  isn't  a  face  an  actor 


Two  striking  candid  Leica  shots  from 
Warner  Studio  are  here  reproduced :  On 
the  left,  David  Niven  and  Errol  Flynn 
are  seen  in  "Daivn  Patrol."  At  the  right, 
Carl  Esmond  and  Flynn  lead  a  crew  of 
roisterous  flyers  in  "Dawn  Patrol." 


is  willing  to  make — and  few  are  able  to! 
— for  a  posed  still  camera  shot. 

Before  the  noiseless  shutter  and  fast- 
as- a- movie -camera  lens  of  the  Leica 
made  possible  the  shooting  of  a  still  or 
series  of  stills  right  beside  cameras  and 
microphones  during  the  actual  taking  of 
a  scene,  the  Graphic  and  speed  gun  tried 
to  solve  the  problem. 

No  cameraman  would  allow  a  flash 
bulb  shot  during  a  scene,  with  its  sud- 
den "bleaching"  eff"ect  on  his  movie  film, 
and  no  sound  man  would  okay  a  "take" 
in  which  a  Graphic  shutter  had  clacked. 
So  the  still  man  had  to  solve  this  prob- 
lem by  getting  what  he  could  during 
rehearsals. 

The  objection  to  this  is  that  important 
actors  don't  "give"  during  rehearsals. 
They  merely  go  through  the  motions,  so 
the  director  may  time  the  scene  and  iron 
out  business  and  dialogue.  Stills  shot 
of  actors  in  rehearsals  lack  di-amatic 
or  comedy  effect. 

Sense  of  Action 

The  scene  from  "Going  Places"  in 
which  Dick  Powell  halts  in  the  middle 
of  a  "croon"  and  his  fingers  freeze  over 
the  ivories  of  the  piano  when  he  is  in- 
terrupted by  Ronald  Reagan  catches 
that  "movie-in-the-making"  air  and  sense 
of  action  only  an  actual  scene,  and  not 
a  rehearsal,  will  give. 

In  the  scene  in  which  Powell  in 
jockey's  costume  is  dazed  by  a  race  he's 
ridden — when  he  doesn't  know  how  to 
ride! — the  thing  caught  which  couldn't 
come  from  a  rehearsal  snap  is  the  con- 
vincing realism  of  everyone  in  the  scene. 

The  same  comment  applies  to  another 
shot  of  "Going  Places"  in  which  Harold 
Huber  and  Allen  .Jenkins  figure. 

In  shots  of  the  same  picture  in  which 
horses  are  in  rapid  action  the  use  of  the 
Leica  was  indicated  over  even  the  Graflex 
because  of  its  portability — the  photog- 
rapher was  in  precarious  and  uncomfort- 
able positions,  due  to  two  factors:  neces- 
sity of  keeping  out  of  the  range  of  the 
motion  picture  cameras,  and  at  the  same 
time  dodging  the  hooves  of  the  horses. 

In  the  shot  where  the  horse  is  stand- 
(Continued  on  Page  i60) 


448     American  Cinematographer    •    November,  1938 


^  UR  ^^^^ 


MODERNIZE  STUDIO 

as  well  as 
THEATER  LIGHTING 

Modernized  carhon  arc  ligliting 
provides  improved  ligJit  for  pro- 
duction, just  as  it  does  for  pro- 
jection. The  new  studio  carhon 
arc  lamps  are  gaining  acceptance, 
on  hoth  monochrome  and  color 
production,  as  sources  of  photo- 
graphic hght  especially  well 
adapted  to  the  modern  technique 
of  "key"  or  "precision"  lighting, 


INC. 


,.,..,..-n.raUs_  -  a..c.n  ^  ^^^^^ 

<-n">>'P^'^*  :  ..a.•apa.■•a^  b«slne- 


■precision"  lighting. 
WTIONAL  CARBON  CO. 

Vet  ihe  '   


..T(.<-  fc""-""' 


11  ril.-  '    '.  rrojrrii'-'      "         ■,„„r»re<t  ,>">■ 


intensify  ^ 


1^;^   

General  Offi-.  30  _ 


November,  1938    •    American  Cinematographer  449 


What^s    Wrong  With 
Cine  matograpliy? 


WHAT  is  wrong  with  present-day 
cinematography?  Why  do  to- 
day's directors  of  photography, 
working  with  finer,  faster  film  and  bet- 
ter photographic  and  lighting  equipment, 
so  generally  feel  they  are  not  getting 
the  results  they  should  in  view  of  the 
last  decade's  technical  advances? 

These  questions  were  the  subject  of 
an  open  forum  discussion  at  the  Septem- 
ber meeting  of  the  American  Society  of 
Cinematographers,  under  the  Chairman- 
ship of  Past  President  John  Arnold. 
Planned  as  the  first  of  a  series  of  in- 
formal discussions  of  the  cause  and  cure 
of  modern  photographic  problems,  the 
meeting  disclosed  a  general  sentiment 
among  the  world's  greatest  cinematogra- 
phers that,  in  spite  of  international  ac- 
claim, the  majority  feel  their  work  is  not 
progressing  but  retrogressing. 

This  sentiment  was  expressed  by 
Chainnan  Arnold,  who  opened  the  meet- 
ing with  the  statement:  "We've  had 
a  number  of  very  distinguished  speakers 
at  our  ineetings  who  told  us  how  good 
we  were.  But  tonight  I  feel  we  owe  it 
to  ourselves  to  find  how  bad  we  are. 

"It  is  pleasant  to  be  complimented. 
But  there  are  too  many  of  us  who  feel 
convinced  we  are  not  getting  the  results 
we  ought  to,  judged  by  the  work  we  our- 
selves produced  ten  or  fifteen  years  ago, 
and  by  the  technical  improvements  since 
then. 

Faster  Film — More  Light 

"What  is  wrong?  We  have  films  im- 
measurably faster  than  the  best  avail- 
able a  dozen  years  ago — but  we  are  using 
just  about  as  much  light  as  we  did  then. 
We  have  better,  faster  lenses — but  are 
we  making  any  better  use  of  them  than 
we  did  with  the  poorer  ones  of  the  past? 

"We  have  better  cameras,  better  light- 
ing units,  better  accessories  than  ever, 
but  is  our  work  the  better  for  it?  The 
laboratories  are  certainly  processing  our 
film  more  scientifically  than  they  could 
ten  years  ago. 

"Still  we  feel  our  work  has  not  pro- 
gressed proportionately. 

"Is  there  something  wrong  with  the 
film?  With  the  equipment?  With  the 
laboratories?  With  modern  production 
methods?    Or  does  the  fault  lie  with  us? 

"One  of  the  chief  purposes  of  the 
founders  of  this  organization  was  the 
betterment  of  cinematography  through 
frank  discussions  of  such  problems.  To- 
night I  think  we  have  an  opportunity 
to  serve  that  purpose." 

In  the  discussion  which  followed,  men 
universally  acclaimed  as  the  world's  su- 


preme masters  of  the  camera  vied  in 
pointing  out  the  shortcomings  of  their 
work  and  in  seeking  both  cause  and 
remedy. 

Do  Labs  Steal  Film  Speed? 

One  of  the  first  points  discussed  was 
that  of  film  speed.  It  was  stressed  that 
as  each  successive  advance  in  film  speed 
was  announced,  a  chief  claim  made  by 
film  manufacturers  has  been  that  the  in- 
creased speed  would  permit  the  use  of 
less  light,  bringing  a  closer  approach  to 
the  cinematographer's  goal  of  truly  real- 
istic lightings. 

With  each  such  advance  illumination 
levels  would  for  a  time  be  gratifyingly 
lowered.  Then  cinematographers  would 
suddenly  find  themselves  getting  into  dif- 
ficulties with  such  lightings  and  would 
before  long  find  themselves  right  back 
to  previous  illumination  standards. 

It  seemed  hardly  possible  that  all  film 
manufacturers  should  consistently  mar- 
ket unstable  emulsions.  Neither  did  it 
seem  likely  that  cinematographers  in  all 
studios  should  almost  simultaneously  find 
their  judgment  of  lighting  gone  awry. 

It  was  pointed  out  by  several  members 
of  long  experience  in  both  camera  and 
laboratory  work  that  most  laboratories 
are  conducted  as  studio  depai-tments 
separate  from  the  camera  department, 
and  in  some  instances  as  outside  organ- 
izations wholly  independent  from  the 
studios  they  service. 

It  is  natural  that  their  chiefs  should 
take  advantage  of  every  opportunity  to 
increase  organization  efficiency.  One  way 
in  which  this  could  be  done  at  the  ex- 
pense of  the  cameraman  was  by  using 
a  shorter  development  of  faster  film  to 
give  increased  capacity  or  lowered  ex- 
penses. This  would  effectively  reduce  the 
practical  speed  of  the  film  as  used  on  the 
set. 

Tests  With  Minicam  Processing 

Tests  made  by  several  members  were 
described,  which  proved  that  modern 
films,  exposed  as  customary  under  studio 
conditions,  had  vastly  more  on  the  nega- 
tive than  most  studio  developing  brought 
out.  One  such  series  of  tests  was  men- 
tioned, in  which  a  35mm.  miniature 
camera  had  been  placed  beside  the  cine 
camera  on  a  typical  set. 

With  it  were  exposed  in  rapid  succes- 
sion a  number  of  rolls  of  film  identical 
with  that  being  used  in  the  studio 
camera.  The  exposure  in  all  cases  was 
identical  with  that  given  by  the  motion 
picture  camera- — 1/50  second  at  the  same 
aperture  used  by  the  production  camera. 


The  minicam  rolls  were  then  sent  to  both 
studio  laboratories  and  miniature-camera 
processing  specialists. 

When  the  results  were  projected  it 
was  found  that  almost  invariably  the  film 
receiving  miniature  camera  processing 
showed  improvements  in  exposure  values. 
It  was  held  that  the  application  of  fine 
grain  miniature  camera  methods  to  mo- 
tion picture  processing  would  open  up 
an  important  new  field  for  photographic 
advancement. 

Technical  representatives  of  the  vari- 
ous raw  stock  firms,  on  the  other  hand, 
pointed  out  that  there  were  commercial 
difficulties  in  the  way  of  adopting  such 
methods. 

Under  present  conditions  commercial 
development  of  motion  picture  negative 
requires  solutions  giving  full  develop- 
ment in  an  average  of  about  9  minutes, 
while  the  more  popular  fine  grain  de- 
velopers require  from  15  minutes  to  well 
over  half  an  hour.  Certain  of  these  solu- 
tions apparently  increase  the  speed  of 
any  given  film,  while  others  apparently 
lower  it. 

It  was  none  the  less  urged  that  further 
investigation  of  this  phase  of  the  problem 
be  made. 

What  Made  Great  Films  Great? 

Everyone  cherishes  the  memory  of 
certain  great  films  of  the  past,  which 
stand  out  as  great  historical  landmarks 
in  the  advancement  of  production,  acting, 
direction  of  cinematography.  One  such 
was  discussed,  "The  Four  Horsemen  of 
the  Apocalypse,"  photographed  by  John 
Seitz,  A.S.C.,  in  1921. 

This  was  cited  as  a  production  which 
at  the  time  inspired  cinematographers 
everywhere  to  emulate  its  technique  and 
to  explore  new  methods  of  camera  ex- 
pression. Why  was  it,  Seitz  was  asked, 
that  such  successes  were  achieved  rela- 
tively often  then,  yet  were  so  rare  now? 

Mr.  Seitz  replied  that  on  that  produc- 
tion he  had  had  a  virtually  free  hand  to 
experiment — a  condition  seldom  foiind 
today.  At  that  time  he  had  been  able  to 
work  more  closely  with  both  director  and 
producer  in  the  planning  and  photo- 
graphing of  the  production  than  is  usual 
now. 

In  that  particular  case,  all  concerned 
felt  there  was  much  to  be  gained  by 
striving  to  use  camera  and  lighting  more 
expressively.  Though  in  seeking  this  end, 
mistakes  were  made,  the  net  result  was 
enduring  progress. 

He  pointed  out  further  that  in  photo- 
graphing not  only  that  production  but 
(Continued  on  Page  Jt57) 


450     American  Cinematographer    •    November,  1938 


Kodak  Issues 
Kodadirome  in 
Cut  Films  for 


Prof 


essionals 


ALREADY  famed  as  a  medium  for 
color  photography  of  superb  qual- 
■■  ity,  Kodachrome  professional  film 
is  now  available  in  cut  film  sizes  up  to 
and  including-  8  by  10  inches  and  in  a 
type  precisely  color  balanced  for  high 
intensity  tungsten  illumination,  the  East- 
man Kodak  Company  announces. 

Identical  in  principle  with  the  Koda- 
chrome film  which  has  proved  so  con- 
venient and  workable  for  miniature  cam- 
eras, professional  Kodachrome  differs 
only  in  its  suitability  to  professional  and 
studio  photography. 

Kodachrome  professional  fihn  is  used 
with  the  same  ease  and  simplicity  as 
No.  135  and  828  Kodachrome  film  for 
miniature  still  cameras.  It  is  suitable  for 
use  in  any  camera  which  takes  standard 
black-and-white  cut  film.  Film  holders 
are  loaded  and  single  exposures  made  in 
the  usual  fashion. 

A  single  exposure  produces  a  positive 
transparency  in  full  color.  Any  fully 
color-corrected  anastigmat  lens  capable 
of  good  three-color  work  is  suitable  for 
color  photography  with  Kodachrome. 

Processed  in  Rochester 

The  simplicity  with  which  Kodachrome 
may  be  used  is  due  to  its  structure. 
Though  a  single  film,  it  has  three  sepa- 
rate emulsions — each  selectively  sensi- 
tized to  a  different  part  of  the  spectrum. 
Dyed  layers  of  gelatin  over  each  emul- 
sion act  as  color  filters  and  record  the 
colors  of  the  subject  as  negative  silver 
images — in  perfect,  permanent  register. 

In  processing,  these  negative  silver 
images  are  converted  into  a  full  color 
positive.  Professional  Kodachrome  film 
for  the  present  will  be  processed  only 
at  the  Eastman  laboratories  in  Rochester. 

Kodachrome  transparencies  are  free 
from  screen  pattern,  and  have  the  ex- 
treme fineness  of  grain  characteristic 
of  the  reversal  process.  The  transpar- 
ency may  be  examined  as  a  proof,  used 
for  engraver's  copy,  used  for  the  pro- 
.  duction  of  full-color  prints  on  paper,  by 
the  wash-off  relief  method  or  other  suit- 
able medium,  or  for  screen  projection 
wt+h  suitable  equipment. 

Professional  Kodachrome  film  for  stu- 
dio  use   under  artificial   light   will  be 


Characteristics  Professional 


Kodadirome  Film^,  T 


ype 


USE:  Single  exposure  in  regular  camera  produces  pos- 
itive transparency  in  full  color,  without  screen 
pattern. 

LIGHTING:  Balanced  for  high  intensity  clear  Mazda 
lamps. 

FILTERS:  None,  when  appropriate  type  of  artificial 
light  is  used,  Wratten  85-B  for  outdoor  pictures. 

SPEED:  Approximately  one  third  that  of  Eastman 
portrait  panchromatic  film  or  Eastman  "SS"  pan 
cut  films. 

EXPOSURE  LATITUDE:  Moderate. 

PROCESSING:    At  Rochester  only,  without  charge  if 

three  or  more  films  are  returned  for  processing 

at  one  time. 

SIZES:  Popular  sizes  up  to  and  including  8  by  10  inches. 


known  as  Type  B',  and  will  require  no 
filter  when  used  with  light  of  correct 
color  quality. 

The  Type  B  film  is  color  balanced  dur- 
ing manufacture  for  light  from  incan- 
descent lamps  operated  at  a  color  tem- 
perature of  3200  degrees  K.  This  type  of 
light  represents  the  average  quality  of 
light  normally  used  for  black  and  white 
commercial  photography — that  obtained 
from  clear  bulb,  high  efficiency  tungsten 
lamps  operated  at  correct  voltages.  Thus, 
photographers  can  use  Kodachrome, 
Type  B,  with  no  change  whatever  in 
their  standard  tungsten  lighting  equip- 
ment. 

Pictures  In  Door  or  Out 

The  Type  B  professional  Kodachrome 
film  should  not  be  associated  with  16mm. 
or  35mm.  Type  A  Kodachrome  F'ilm, 
which  is  color-balanced  for  photoflood 
and  photoflash  illumination  of  higher 
color  temperature. 

However,  professional  Kodachrome, 
Type  B,  can  be  u-ed  with  photoflood  or 
photoflash,  if  a   Wratten   2A   filter  is 


placed  on  the  camera  lens  to  compensate 
for  the  excess  blue  of  these  light  sources. 

Pictures  can  also  be  made  outdoors  by 
daylight  if  a  Wratten  85-B  filter  is  used. 
Full  information  about  the  use  of  filters 
is  given  in  the  instruction,  book  packed 
with  each  box  of  film. 

While  Kodachrome  professional  film 
does  not  have  the  high  speed  or  great 
latitude  of  some  black  and  white  films, 
it  does  have  moderate  exposure  latitude. 
Its  speed  is  approximately  one  third  that 
of  Eastman  portrait  panchromatic  film. 

In  addition  to  the  Type  B  film  for 
studio  use,  a  daylight  type  is  expected 
to  be  available  later  in  a  similar  range 
of  sizes. 

Professional  Kodachrome  film  is  sup- 
plied in  boxes  of  one  half-dozen,  each 
box  including  an  instruction  book  and  a 
gummed  return  label.  When  fewer  than 
three  films  are  returned  for  processing 
at  one  time,  a  service  charge  of  50  cents 
is  made.  A  coin  envelop  is  included  in 
each  box  for  that  purpose.  If  three  or 
more  films  are  returned  at  one  time, 
there  is  no  charge  for  processing. 


a 

T 


r  Makes  Record  Dallon 
oto  Lens  of  8  3f^4  in.  Diam< 


DESIGNED  and  manufactured  en- 
tirely in  its  Willesden  Works,  J. 
H.  Dallmeyer  Ltd.  of  London  has 
made  for  an  American  company  what  it 
believes  to  be  the  longest  focus,  largest 
aperture  telephoto  lens  ever  commer- 
cially manufactured. 


It  is  a  Dallon  telephoto  anastigmat 
lens  and  has  an  equivalent  focal  length 
of  60  inches  and  an  aperture  of  f.8,  and 
was  designed  to  cover  up  to  approxi- 
mately 8  by  10  inches. 

The  huge  dimensions  of  this  lens  can 
be  readily  appreciated  by  its  comparison 
with  the  4  inch  f.5.6  Dallon  which  is 
shown  alongside.  This  new  telephoto 
lens  has  a  diameter  of  no  less  than 
8%  inches,  an  overall  length  of  approx- 
imately 18  inches,  and  weighs  no  less 
than  53  pounds. 

Although  the  particular  lens  in  ques- 
tion was  manufactured  to  a  special  order 
(Continued  on  Page  i60) 

Comparison  of  the  huge  Dallmeyer  53- 
pound,  8%-inch  diameter  telephoto  lens 
with  Dallon  Jf-inch  f.5.6  alongside. 


November,  1938    •    American  Cinematographer  451 


CAMERA 
HAZARD 
ABOUND 
IN  JUNGLE 
UBIECT 


By  GEORGE  BLAISDELL 

All  photographs  enlargements  from  35  mm.  motion  picture 


Native  hunters  have  cut  out  from  fleeing  herd  the  elephant 
previously  selected  for  capture  and  are  fighting  for  oppor- 
tunity to  fasten  rope  around  hindleg.  The  gun  in  hands  of 
native  carries  a  blank — singidarly  enougiL  as  a  protection 
to  other  natives. 


THERE'S  a  new  African  picture 
on  the  screen.  It's  another  one 
of  the  exceedingly  few  in  that 
much  overtouted  classification  you  may 
feel  privileged  to  write  home  about.  The 
title  is  "Dark  Rapture,"  but  you  will 
have  to  see  the  picture  before  it  is  likely 
you  will  surmise  what  the  title  is  all 
about. 

One  guess  as  good,  perhaps,  as  another 
is  that  it  bears  on  the  rhythmic  dance  of 
the  men  and  women  in  the  tribe  of  giants 
found  in  the  Belgian  Congo. 

Whether  you  are  a  recognized  addict 
of  the  swirling  dance  or  not,  you  cannot 
fail  to  become  one  momentarily  while 
these  seven-footers  float  swiftly  and 
surely  through  a  routine  that  may  have 
come  down  to  us  right  here  and  now 
from  an  age  as  remote  as  the  recordings 
in  the  Bible — like  a  page  out  of  that 
venerable  work. 

Praiseworthy  Film 

As  we  see  giants  so  also  do  we  see 
pigmies — who  among  other  accomplish- 
ments build  bridges;  and  after  we  have 
seen  these  little  men  create  out  of  the 
forest  a  structure  nearly  two  hundred 
feet  long  and  one  in  which  the  inverted 
arch  is  fifty  feet  above  the  picturesque 
stream  which  it  spans  we  wonder  if  per- 
haps the  lecturer  may  not  be  entirely 
right  in  his  assertion  that  for  these  little 
men  with  no  equipment  but  knives  and 
with  a  background  barbarously  primitive 
the  resulting  structure  is  as  marvelous 
an  achievement  for  them  as  was  the 
great  Bay  Bridge  in  San  Francisco  for 
the  men  who  designed  and  built  it. 

"Dark  Rapture"  is  being  released  by 
Universal.  The  company  is  preparing  to 
accompany  its  screen  introduction  with 


an  abundance  of  exploitation.  It  is  a 
production  that  will  stand  praise — stand 
it  because  it  is  woi-thy  of  it. 

The  picture  was  made  under  unusual 
circumstances.  Armand  Denis,  producer 
of  "Goona  Goona"  and  director  of  "Wild 
Cargo,"  is  its  pi-oducer  and  director. 
Leroy  Phelps,  who  photographed  it,  pre- 
viously had  filmed  pictures  for  Frank 
Buck,  producer  of  jungle  subjects.  Not 
only  did  he  photograph  "Dark  Rapture," 
but  in  association  with  Gunther  Von 
Fritsch  he  edited  the  film.  Phelps  is  a 
resident  of  New  Haven,  Conn. 

Denis  is  a  native  of  Belgium.  It  was 
the  natural  thing  in  planning  a  trip  to 
the  Belgian  Congo  application  should  be 
made  to  the  Belgian  Government  for  its 
active  support  and  cooperation. 

So,  too,  it  was  the  expected  action  for 
the  Belgian  authorities,  from  the  King 
downward,  to  grant  the  producer  what 
was  requested — more  than  that,  that  the 
Congo  executives  be  instructed  to  give 
every  possible  aid  in  securing  not  only 
pictures  of  the  natives  and  the  way  they 
live,  but  a  complete  sound  record  of  their 
ceremonials. 

Specializes  in  Photography 

Denis  at  the  age  of  seventeen  years 
was  graduated  in  1914  from  high  school 
in  Belgium  into  the  trenches.  He  was 
captured  by  the  Germans  and  consigned 
to  a  prison  camp.  He  escaped  and  joined 
the  aviation  forces  of  England.  After 
the  war  there  was  study  at  the  Paris 
School  of  Mines  and  the  University  of 
Florence,  followed  by  reseaich  in  physi- 
cal chemistry  under  Dr.  Millikan  at  the 
California  Institute  of  Technology. 

For  two  years  Denis  was  employed  by 
the  Eastman  Kodak  Company,  specializ- 


ing in  photo-chemistry  and  sensitometry. 
Then  came  a  long  session  in  the  work  of 
sound  recording  and  in  the  field  of  radio. 
Particular  attention  was  given  to  auto- 
matic volume  control. 

In  Connecticut  Denis  met  Leila  Roose- 
velt, daughter  of  Andre  Roosevelt,  and 
member  of  the  same  family  as  that 
of  the  presidential  branches.  As  the 
father  was  an  explorer-traveler  it  was 
the  natural  thing  for  the  daughter  to 
follow  in  his  footsteps.  So  it  was  the 
Denis-Roosevelt  expedition  to  the  Congo, 
and  the  wife  went  along  as  an  active 
partner.  Four  children  were  obliged  to 
remain  behind  in  civilization. 

For  rolling  stock  the  expedition  em- 
ployed two  large  Dodge  trucks,  both  with 
front  and  rear  drive.  This  was  to  make 
it  easier  to  escape  from  the  sand  traps 
encountered  in  crossing  the  deserts. 
There  was  a  Dodge  sedan  and  trailers. 

Two  Years  Preparing 

Night  travel  on  the  desert  to  escape 
the  heat  soon  was  abandoned.  Progress 
was  little  better  than  nil.  Daylight  and 
corresponding  heat  were  less  to  be  feared 
than  lower  temperature  and  darkness 
with  the  accompanying  plunging  into 
soft  sand. 

Among  the  photographic  equipment 
were  two  DeVry  cameras,  one  Bell  and 
Howell  single  system  recording  camera 
and  an  Eyemo  and  also  an  Akeley.  Film 
was  packed  to  the  extent  of  100,000  feet. 
Much  of  the  latter  was  Eastman  and 
some  of  it  was  Gevaert.  Shipments  to 
New  York  were  made  by  way  of  Belgium 
when  it  was  possible  to  get  film  out  of 
the  jungle.  Laboratory  work  was  done 
byH.  E.  R. 

Two  years  were  given  to  preparing  for 


452     American  Cinematographer    •    November,  1938 


the  expedition,  carrying  through  for  the 
42,000  miles  of  overland  travel  from 
Belgium  and  for  the  cutting  and  editing 
of  the  film  afterward. 

The  production  is  a  triumph  for  the 
producer  and  especially  for  the  photogra- 
pher. Perhaps  a  better  way  to  express 
that  would  be  to  say  the  production  is 
a  photographic  triumph,  with  Denis  and 
Phelps  linked  together.  Only  two  men 
of  wide  experience  in  that  kind  of  ad- 
venture, as  these  two  had  been  trained 
to  it  with  Frank  Buck,  could  have 
achieved  such  teamwork  as  did  this  pair. 

There  were  many  occasions  where 
more  than  one  camera  was  brought  into 
play.  One  of  these  was  the  capture  of 
a  wild  elephant  and  the  accompanying 
hazard  to  all  the  human  beings  partici- 
pating. 

There  were  the  stealing  up  on  the 
herd,  so  close  as  to  permit  the  leaders  to 
make  their  selection  as  to  which  particu- 
lar animal  was  wanted.  He  must  not  be 
too  young,  because  too  much  time  would 
be  I'equired  for  his  growth  to  the  size 
and  strength  that  would  make  him  val- 
uable to  his  captors.  Neither  must  he  be 
too  fully  developed,  because  of  the  added 
difficulty  in  handling  and  training  him. 

Elephants  Stampede 

When  the  alarm  shot  was  fired  the 
elephants  made  every  effort  to  escape.  It 
was  a  real  stampede.  All  animals  were 
ignored  except  the  one  selected.  He  was 
followed  by  the  natives  with  ropes. 

At  the  first  opportunity  one  of  the  na- 
tives ran  behind  the  tusker,  threw  a  rope 
around  one  of  the  hind  legs — maybe  after 
all  he  laid  down  a  noose  into  which  a 
hind  foot  stepped.  The  other  end  was 
thrown  around  a  tree  and  made  fast. 
Right  there  the  rumpus  began. 

It  was  almost  no  time  at  all  before  a 
second  and  a  third  rope  were  around  a 
hind  leg  and  the  animal  seemed  to  be 
securely  caught  in  spite  of  his  thrashing 
around.  It  was  but  a  few  moments,  how- 
ever, before  the  tree  came  out  of  the 
ground  by  the  roots.  Partly  freed,  the 
animal  started  off  again. 

Without  hesitation  the  natives  closed 
around  him  again  and  again  ropes  were 
slipped  around  a  hind  leg.  Again  the 
thrashing  and  rushing,  swaying  animal 
was  fastened  to  a  larger  tree.  In  time 
he  was  exhausted.  Two  tame  animals 
moved  into  the  scene,  one  on  each  side. 
Their  presence  eased  the  captive,  while 
their  readiness  to  squeeze  him  lessened 
the  belligerency. 

Another  thrilling  sequence  was  that  in 
which  an  elephant  was  taught  to  lie 
down  on  command  and  at  the  same  time 
become  accustomed  to  carrying  a  man  on 
his  back.  With  ropes  fastened  on  one 
forefoot  and  on  one  hindfoot  the  com- 
mand was  given  to  "Lie  down."  At  the 
same  time  the  forefoot  was  drawn  until 
the  elephant  was  forced  down. 

Elephant  Swings  Trunk 

As  his  belly  touched  the  ground  a  na- 
tive jumped  on  the  broad  back.  The 
elephant  rolled  and  the  native  leaped  for 
safety,  with  an  eye  always  on  the  roving 


On  Page  Opposite 

1.  Native  atepn  behind  raying 
wild  elephant  and  .ilips  heavy  rope 
around  hindley — far  from  being  as 
fiimple  an  it  looks.  2.  First  hold  han 
been  secured  on  young  animal  and 
natives  seek  to  hem  it  in.  This  is 
just  prior  to  his  pulling  up  tree  by 
roots,  leaving  work  to  be  done  all 
over  again.  ,3.  Leila  Roosevelt,  wife 
of  leader,  on  another  occasion  visits 
the  First  Lculy  of  the  Land.  U-  Big 
one-tusker  pushes  over  heavy  tree, 
picks  it  up  and  carries  it  out  of  the 
way.  5.  Elephant  much  again.nt  his 
tvish  is  being  taught  to  lie  down 
when  told  and  at  the  same  tim^ 
leai-n  to  carry  a  man  on  his  back — 
peaceably.  (!.  Leila  Roosevelt.  7.  We 
have  seen  this  In-idge  grow  from 
the  first  strand.  8.  If  you  never 
have  seen  grace  or  rhythm  before 
we  it  now.  This  is  Dark  Rapture 


trunk.  There  was  plenty  of  danger  in 
that  sequence,  too. 

One  of  the  spectacular  parts  of  the 
film  was  that  already  mentioned,  the 
building  of  the  bridge  by  the  pigmies. 
After  several  failures  to  swing  a  native 
far  enough  across  the  stream  at  the  end 
of  a  stout  rope  so  he  might  effect  an 
anchor  for  the  first  strand  of  the  bridge 
to  be  it  was  decided  to  equip  the  bearer 
with  a  long  pole  and  a  hook. 

Fastened  in  a  primitive  saddle,  with 
the  swinging  rope  pulled  taut  until  it 
was  horizontal  seemingly  over  a  hundred 
feet  above  the  ground,  another  native 
on  an  improvised  platform  swung  a  long- 
handled  knife  and  cut  the  rope  behind 
the  suspended  native. 

The  man  dropped  through  space.  He 
passed  the  perpendicular  and  started  up- 
ward. He  continued  to  ascend  until  he 
approached  the  desigTied  anchorage  on 
the  crossing.    The  improvised  boathook 


Armand  Denis 


shot  toward  the  tree.  It  held.  Slowly 
the  native  pulled  himself  to  the  trunk  of 
the  tree  as  the  crowd  below  yelled  with 
delight.  It  was  the  beginning  of  the 
bridge. 

Many  streams  were  crossed  with  ele- 
phants providing  the  motive  power  for 
the  trucks.  One  of  the  sequences  was 
that  of  trapping  animals  for  food  by 
means  of  nets  stretched  for  hundreds  of 
feet,  the  men  holding  the  nets  and  the 
women  spread  out  fan  shape  driving  the 
animals  into  the  net. 

Maximum  of  Rhythm 

The  ceremonial  dances  are  features  in 
themselves.  In  garb  to  which  an  amaz- 
ing amount  of  attention  has  been  given 
the.se  giants  of  the  jungle  stage  their 
ancient  ceremonials.  It  is  the  maximum 
in  rhythm. 

Making  it  all  the  more  effective  is  the 
recording  of  the  marvellously  timed 
cadence  of  what  takes  the  place  of  ban- 
gles on  the  ankles  and  other  parts  of 
the  performers'  bodies.  There  is  no 
doubt  that  here  at  last  is  sound  recording 
in  the  African  jungle.  There  is  the  same 
impression  when  we  hear  the  roars  of 
rage  and  terror  of  the  trapped  elephant. 

The  concluding  spectacle  is  the  rush  to 
escape  from  the  burning  grass  fire 
ignited  by  the  lightning  just  prior  to  the 
setting  in  of  the  rainy  season.  The  fight 
narrows  down  to  the  point  where  the  ex- 
pedition is  fighting  to  save  all  the  film  it 
has  exposed  in  the  visit  to  the  giants. 

The  river  is  reached  just  in  time  to 
save  humans  and  animals — and  the  film. 
The  trucks  were  abandoned  to  the  flames. 
But  the  cameraman  was  busy  with  his 
lenses.  He  recorded  the  blaze  in  plenty 
of  footage.  From  the  Belgian  station, 
the  district  commander  had  seen  the 
flames  and  started  out  in  boats  to  find 
the  fugitives  and  to  bring  them  in. 

Don't  go  to  see  "Dark  Rapture"  from 
the  photographic  side  alcne,  although 
there  is  abundant  reason  for  it.  See  it 
for  its  melodramatic,  for  its  interesting 
and  human  side,  and  for  its  geographic 
and  educational  values. 


Japanese  1938  Year  Book 

Tells  of  Nation's  Screen 

"The  Cinema  Year  Book  of  Japan 
1938,"  edited  by  the  International  Cin- 
ema Association  of  Japan  and  published 
by  the  Society  for  International  Cul- 
tural Relations,  is  an  attractive  publi- 
cation. It  is  printed  in  English  on  heavy 
book  paper,  has  been  carefully  edited 
and  is  illuminated  by  a  large  number 
of  craftsmanlike  engravings. 

The  book  has  eighty-two  pages,  with 
heavy  cloth  covers,  and  measures  9  by  12 
inches  in  size.  A  number  of  pages  are 
devoted  to  photographs  of  the  screen's 
leading  players.  Here  are  to  be  noted 
attractive  faces  of  women  and  rugged 
faces  of  men. 

In  the  text  division  are  articles  re- 
viewing "The  Japanese  Cinema  in  1937," 
covering  the  organization  of  the  com- 
panies and  the  relations  if  any  between 
the  respective  concerns.  The  statistics 
extend  to  the  theatre. 


November,  1938    •    American  Cinematographer  453 


454      American  (JINEMATOGRAPHER    •    November,  1938 


REEVES  SINGLE  SYSTEM 

SOUND  FITS  ANY  CAMERA 


SINGLE  SYSTEM  sound  recorders, 
in  which  sound  and  picture  are 
recorded  on  the  same  negative,  offer 
many  advantages  in  certain  fields  of  pro- 
fessional camerawork,  especially  news, 
expeditionary,  commercial  and  education- 
al filming. 

Most  of  these  outfits,  however,  while 
definitely  portable,  are  still  sufficiently 
bulky  to  be  more  or  less  inconvenient 
under  some  circumstances  encountered  in 
these  fields,  where  the  light  weight,  small 
bulk  and  greater  convenience  of  a  silent 
camera  are  needed.  For  this  reason,  an 
increasing  proportion  of  the  filming  in 
such  fields  is  done  silent,  with  narrative 
or  musical  sound  later  "dubbed  in"  as 
mav  be  desired. 


The  new  Art  Reeves  single-system  re- 
cording attachment,  illustrated  for  the 
first  time  in  the  October  issue  of  the 
American  Cinematographer,  is  intended 
for  the  use  of  cinematographers  who  re- 
quire sound  on  occasion  and  portability 
always. 

The  device  consists  of  an  attachment 
which  can  be  fitted  to  any  standard 
35mm.  camera  equipped  with  outside 
magazines,  like  the  Bell  &  Hcwell  and 
Mitchell.  The  recording  unit  is  a  small 
housing  placed  between  the  camera  head 
and  the  magazines. 

It  fits  on  to  the  camera  exactly  as  do 
the  magazines,  and  accepts  the  maga- 
zines exactly  as  does  the  camera.  The 
only  change  necessary,  other  than  having 


the  camera  mechanism  silenced  for  use 
with  sound,  is  to  fit  a  longer  take-up  belt. 

Enters  Camera  Normal  Way 

In  this  device  the  film  passes  from  the 
feed  magazine  over  a  relieved  idling 
roller  and  is  looped  forward  over  the 
recording  drum,  after  which  it  passes 
over  another  idler  and  enters  the  camera 
head  in  the  normal  way. 

The  recording  drum  is  of  conventional 
type,  and  directly  connected  to  a  heavy, 
magnetically  damped  flywheel  which 
serves  to  remove  all  irregularities  from 
the  film's  movement  past  the  recording 
drum. 

The  sound  record  is  made  at  this  drum. 
While  any  type  of  recording  device  may 
be  used,  the  unit  was  designed  primarily 
for  use  with  the  Art  Reeves  "Line-0- 
Lite"  recording  glowlamp. 

This  lamp  is  particularly  suitable  for 
single  system  recording,  for  it  has  a 
strong  visual  radiation  and  a  consider- 
able ultra-violet  radiation  as  well.  It 
is  thus  possible  to  balance  sound  and 
picture  exposures  so  that  the  negative 
may  be  developed  for  picture  values 
without  loss  of  sound  quality. 

In  most  laboratories  the  accepted 
gamma  for  picture  negative  ranges  be- 
tween .60  and  .65.  This  same  standard 
can  be  maintained  for  the  sound  track 
recorded  in  this  device,  with  highly  satis- 
factory results. 

In  printing,  since  the  sound  is  21 
frames  behind  the  picture,  while  sound 
projection  standards  place  the  sound 
aperture  19  V2  frames  ahead  of  the  pic- 
ture, the  sound  must  be  moved  forward 
40  V2  frames  for  perfect  synchronization. 

However,  since  sound  and  picture  are 
usually  printed  in  separate  operations, 
even  when  single  system  negatives  are 
involved,  this  is  no  great  drawback. 
Amplifier  Simplified 

The  amplifier  and  batteries  for  thi.^ 
outfit  have  been  compressed  into  unusu- 
ally small  space.  They  occupy  two  small 
cases,  each  less  than  one  foot  square. 
The  cables  connecting  the  various  units 
of  the  system  are  so  constructed  that  no 
cable  can  be  connected  to  any  but  its  in- 
tended terminal. 

The  amplifier  has  been  simplified  t'> 
the  utmost,  to  make  for  convenient  field 
use  and  for  safety  when  operated  by  in- 
dividuals not  well  acquainted  with  re- 
cording technique. 

A  single  switch  turns  the  power  on. 


The  new  Reeves  single-system  recording 
attachment  complete  unth  amplifier  and 
microphone.  The  unit  may  be  fitted  to 
any  standard  camera  having  outside 
magazines,  including  Mitchell  (shown, 
here),  Bell  and  Howell,  and  others. 


November,  1938    •    American  Cinematographer  455 


The  new  Art  Reeves  Single-system  Sound 
Attachment.  This  recording  tinit  fits  be- 
tween camera  head  and  magazines,  and 
is  easily  removed  for  silent  scenes.  Re- 
cording is  made  with  a,  Recces  "Line-0- 
Lite"  gloiv-lamp,  permitting  sound-track 
negative  to  be  developed  for  picture 
values. 


A  single  control  brings  the  needle  of  the 
filament-current  indicator  to  a  predeter- 
mined normal  point.  Another  dial  is 
manipulated  to  set  the  volume  level  in- 
dicator at  a  clearly  marked  miniinuin 
point. 

The  gain  (volume)  control  is  then 
manipulated  so  that  the  needle  of  this 
indicator  does  not  exceed  a  marked  max- 
imum-level indication,  minimizing  the 
danger  of  overloads. 

An  equalizer  is  fitted  for  use  when 
acoustical  conditions  are  poor;  this  may 
be  throv^rn  out  of  the  circuit  by  thi'owing 
a  single  switch.  A  noise  reduction  cir- 
cuit is  a  permanent  part  of  the  ampli- 
fier, while  an  outlet  for  inonitoring  head- 
phones is  of  course  provided. 

The  frequency  response  curve  of  th^^ 
amplifier  is  flat  from  100  cycles  to  a 
point  well  in  excess  of  7000  cycles.  The 
film  movement,  under  stroboscopic  test, 
compares  very  favorably  with  that  of 
any  good  quality  double  system  recordei-. 
Flutter,  "wows"  and  similar  flaws  so 
often  found  in  single  system  sound,  are 
absent. 

Striking  Advantage 

Speaking  of  this  new  recorder,  Reeves 
foresees  its  application  to  several  fields 
other  than  news  and  commercial  cine- 
matography. "Of  course,"  he  says,  "this 
single  system  recording  attachment  was 
planned  especially  for  news  and  com- 
mercial camerawork  and  for  the  lai-ge 
army  of  professional  cameramen  who 
have  occasional  use  for  direct  recorded 
sound  but  hesitate  to  discard  or  alter 
their  existing  silent  picture  camera 
equipment,  which  may  repi'esent  a  con- 
siderable investment. 

"The  majority  of  travelogues,  for  in- 


stance, are  now  photographed  silent,  with 
native  and  background  music  dubbed 
in  later. 

"Many  of  these  films  would  gain  from 
the  addition  here  and  there  of  act- 
ual sounds  directly  recoi'ded  in  these  far 
places  and  impossible  to  duplicate  else- 
where. Native  dances  and  music,  for 
instance,  would  gain  a  great  deal  by  this 
treatment. 

"It  is  impossible  to  duplicate  a  Bali- 
nese  Gamelan  orchestra  in  a  Hollywood 
recording  studio,  especially  if  sound  and 
action  are  to  synchronize  as  they  should. 
And  we  have  all  seen  Tahitian  dances  la 
travel  films  accompanied,  through  neces- 


sity, by  Hawaiian  inusic,  recorded  in 
Hollywood. 

"A  further  field  where  I  feel  this  out- 
fit could  prove  useful,  opening  up  new 
possibilities,  is  in  the  making  of  process 
background  scenes  for  studio  use.  Ninety 
per  cent  of  such  shots  can  best  be  made 
silent;  but  occasionally  one  will  find  a 
background  in  which  some  unique  sound 
may  play  a  vital  part. 

"With  this  compact  little  outfit  a  cine- 
matographer sent  on  such  an  assignment 
could  make  his  silent  backgrounds  as  he 
does  now,  but  the  three  small  cases  in 
his  luggage  would  give  him  an  oppor- 
tunity for  capturing  necessary  sounds." 


Eastman  Adds  7  h2  Acres  of  Floor 
Space  to  Camera  'Works 


THE  Eastman  Kodak  Company 
commenced  construction  in  the 
week  of  October  10  of  a  six-story 
addition  to  the  group  of  buildings  com- 
prising its  camera  works  in  Rochester. 
The  additional  building  will  measure  175 
by  312  feet  in  area  and  is  expected  to  be 
ready  for  occupancy  in  a  year. 

When  completed  the  single  structui'e 
will  add  seven  and  a  half  acres  of  floor 
space  to  the  company's  camera  works. 

The  Camera  Works,  adjoining  the 
general  offices  of  the  company,  is  the 
second-largest  Eastman  plant  in  Roches- 
ter. Kodak  Park,  with  83  buildings  on 
400  acres,  manufacturing  film,  photo- 
graphic paper,  and  chemicals,  is  lai-ger. 
The  Hawk-Eye  Works,  manufacturing 
lenses  and  special  optical  equipment,  is 
smaller. 

Plans  for  the  new  Camera  Works 
building  have  been  under  consideration 
for  a  year. 

"A  substantial  increase  in  interest  in 
amateur  photography  is  one  of  the  rea- 
sons for  the  new  construction,"  the 
Kodak  Company  announced. 


"New  types  of  photographic  apparatus 
manufactured  by  the  company  and  meet- 
ing a  popular  demand  have  imposed  a 
need  for  more  exteiided  facilities  in  the 
manufacturing  departments  of  the  Cam- 
era Works  and  in  the  Camera  Works 
engineering  department,  which  is  re- 
sponsible for  the  design  of  new  photo- 
graphic equipment. 

"The  new  building  will  accominodate 
these  extended  facilities,  and  will  also 
permit  the  spreading  out  of  operations 
carried  on  in  the  present  Camera  Works 
buildings. 


Three  to  One  American 

Seventy-five  per  cent  of  the  feature 
motion  pictures  exhibited  in  Uruguay 
are  of  United  States  origin,  according  to 
a  report  from  the  office  of  the  American 
consulate  at  Montevideo.  The  remaining 
25  per  cent  is  made  up  of  pictures  from 
France,  Argentina,  Great  Britain  and 
Germany.  American  films  are  well  re- 
ceived and  generally  preferred  to  other 
foreign  productions. 


456     American  Cinematographer 


November,  1938 


NEW  BERN 
SOUND 

AN  entirely  new  type  of  optical  sys- 
tem which  produces  the  symmetri- 
'  cal  (or  bilateral)  type  of  variable- 
area  sound  track,  and  which  is  believed 
to  be  one  of  the  most  efficient  in  its 
utilization  of  light  of  the  types  pre- 
viously employed  for  variable-area  re- 
cording, is  incorporated  in  the  new 
Berndt-Maurer  Model  F  high  fidelity 
35mm.  sound-on-film  recording  unit. 

The  high  light-transmitting  efficiency 
of  this  optical  system  has  made  possible 


T.MAURER 
TRACT 


the  design  of  a  unit  which  gives  ample 
exposure  for  any  of  the  generally  used 
types  of  sound  recording  stock  with  an 
image  width  of  only  .00025  inch,  and 
which  nevertheless  continues  the  use  of 
the  small  6  watt  exposure  lamp  which 
has  been  standard  in  Berndt-Maurer 
equipment  for  the  past  three  years. 

The  small  size  and  low  heat  dissipa- 
tion of  the  lamp  permit  an  exceptionally 
compact  unit  measuring  only  IV2  by 
2%  by  8  inches,  including  a  Cannon  re- 


FILM  TESTED 


Automatic  Developing  Machines 

Soundolas 

Sensitesters 

Reeves-lites 

Variable  Density  Sound  System 
Variable  Area  Sound  System 
Microphone  Boom 
Sound  Accessories 
Laboratory  Accessories 


ART  REEVES 

MOTION  PICTURE  EQUIPMENT 

Cable  Address:  ARTREEVES 
7512  Santa  Monica  Blvd.  Hollywood.  California  U.S.A. 


Berndt-Maurer  Model  F  high  fidelity 
35mm.  sound-on-film  recording  unit,  new 
type  of  optical  system  which  produces 
the  symmetrical  or  bilateral  type  of 
variable  area  sound  track. 

ceptacle  at  the  rear  which  is  used  for 
the  electrical  connections.  The  mounting 
plate  is  2  inches  wide  by  2%  inches  high. 

The  Model  F  unit  is  physically  inter- 
changeable with  the  Model  E  unit,  which 
has  been  manufactured  by  Berndt- 
Maurer  for  the  past  three  years  and 
which  has  achieved  world  wide  use. 

Experience  has  shown  that  this  type 
of  recording  unit  can  be  mounted  con- 
veniently on  almost  any  .35mm.  single 
system  camera  or  double  system  re- 
corder. 

Like  the  Model  E  and  other  units 
which  have  been  manufactured  by 
Berndt-Maurer,  the  Model  F  is  built  with 
only  two  adjustments — one  for  focusing 
the  line  image  on  the  film  and  one  for 
setting  the  unmodulated  width  of  the 
sound  track. 

All  other  adjustments  are  made  dur- 
ing factory  assembly,  and  are  perma- 
nently locked  in  such  a  rigid  manner 
that  they  cannot  be  disturbed  by  the 
jars  incidental  to  shipment  or  use. 


Fried  35mm.  Lite  Tester 


Used  hy  the  Leading 
Film  Laboratories 

FRIED  CAMERA  CO. 

6156  Santa  Monica  Bvd. 
HOLLYWOOD,  CALIF. 
Cable  Address:  FRIEDCAMCO 


November,  1938    •    American  Cinematographer  457 


WHAT'S  WRONG  WITH 
CINEMATOGRAPHY? 


(Continued  from  Page  H9) 
many  others  of  the  same  period,  the 
cinematographer  had  one  advantage  now 
virtually  unknown. 

When  he  attempted  such  experiments, 
he  could  tell  the  laboratory  superin- 
tendent how  to  develop  the  film  for  the 
effect  he  had  in  mind,  whereas  today  in 
most  instances  the  cinematographer  must 
photograph  his  scenes  to  jibe  with 
standardized  and  unalterable  require- 
ments of  laboratory  practice. 

Laboratories  and  Meters 

The  great  variation  between  the 
standards  of  the  various  major  film 
laboratories  was  cited  as  another  com- 
plicating factor.  So  great  is  this  varia- 
tion that  lighting  and  exposures  which 
may  be  normal  for  one  studio  and  its 
laboratory  may  be  abnormal  for  another 
studio  and  subnormal  for  a  third.  This 
works  a  notable  hardship  on  the  many 
cinematographers  whose  work  causes 
them  to  alternate  between  different 
studios. 

Modern  photoelectric  light  measuring 
instruments  were  praised  as  valuable 
aids  in  compensating  for  these  differen- 
ces. It  was  pointed  out,  however,  that 
too  many  of  the  existing  photoelectric 
meters  had  been  built  with  a  view  to 
giving  amateur  photographers  a  guide 
to  correct  average  exposures  than  for 
the  precision  measuring  of  lighting  in 
the  professional's  sense. 

Production  "Speed-up" 

The  question  of  speeding-up  produc- 
tion was  held  to  be  one  of  the  most  vital 
and  damaging  differences  between  pro- 
duction ten  years  ago  and  now.  Simple 
comparison  of  average  production 
schedules  for  yesterday's  silent  films 
and  today's  more  difficult  talking  pic- 
tures gives  ample  evidence  on  this  score. 

A  dozen  years  ago  a  studio  might 
take  three  weeks  to  a  month  to  film  a 
two-reel  comedy .  Today  costs  force 
them  to  make  it  in  three  or  four  days. 

A  program  feature  used  to  have  an 
average  schedule  of  from  six  weeks  to 
two  months.  Today,  fifteen  days  or  less 
is  common,  and  a  three-week  schedule 
for  a  "B"  picture  is  something  unusu- 
ally pretentious. 

A  "special"  production  formerly  meant 
six  months  to  a  year  or  more  of  shoot- 
ing. Today  if  even  a  highly  budgeted 
super-special  is  in  production  more  than 
three  months  it  is  regarded  as  something 
exceptional. 

At  the  same  time,  the  problems  con- 
fronting the  cinematographer  have  not 
decreased,  but  instead  have  increased 
tremendously.  The  use  of  sound  has 
brought  the  complication  of  microphone 
shadows  to  every  scene,  together  with 
much  added  equipment  which  often 
hampers  the  placing  of  lamps. 

Further,  the  use  of  the  moving-camera 


technique  has  made  it  necessary  for  the 
cinematographer  to  light  his  set  not 
merely  to  be  satisfactory  from  one  view- 
point, but  so  that  the  camera  may  move 
to  and  fro  about  the  set  and  yet  at  all 
times  view  good  or  at  least  adequate 
lighting. 

In  view  of  these  conditions,  as  one 
member  summarized  things,  is  it  not 
more  logical  to  wonder  why  cinema- 
tographers today  do  as  well  as  they  do  ? 


Chelsea  Sponsors  Exhibition 

The  Chelsea  Camera  Club  of  New 
York  is  sponsoring  an  exhibition  of 
Marine  Photography. 

Members  of  camera  clubs  and  other 
photographers  are  invited  to  submit 
prints  of  a  maritime  or  nautical  char- 
acter, which  must  be  in  not  later  than 
January  15,  1939. 

Steamship  companies  and  allied  indus- 
tries have  manifested  deep  interest  in 
the  undertaking,  which  indicates  that 
the  exhibition  will  be  a  success. 

The  entry  fee  is  $1.  The  number  of 
prints  is  four.  The  duration  of  the  exhi- 
bition is  from  February  6  to  12. 


LIGHTING  NEWS  S^jUvcl 


ON   THE  SET 


EVERY  DAY 


DUARC  THE  FAVORITE 


M-R  ENTRY 
FAVORED 
l/V  COLOR 
SWEEP 

Gcing  to  the  post  a 
heavy  favorite,  Duarc, 
classy  entry  from  the 
celebrated  Mole  -  Rich- 
ardson stables,  is  touted 
as  a  sure  winner  in  the 
season's  forthcoming 
Technicolor  sweep- 
stakes. In  early-season 
workouts  on  both  test- 
ing and  production 
tracks,  the  M-R  colt 
showed  exceptional 
form,  consistently 
smashing  previous 
track  records. 

Running  this  season 
in  place  of  Side  Arc 
and  Scoop,  former  heavy 
winners  for  the  same 
stable,  the  Duarc  filly 
is  well  thought  of  for 
past  performances.  Stu- 
dio c.Tmeramen  and 
electricians  especially 
have  bet  Duarc  heavily 
across  the  board. 

**We  can't  lose,"  was 
general  comment.  "The 
older  arcs  couldn't  last 
the  course  when  going 
got  tough,  especially 
when  run  in  high  posi- 
tion where  trainers 
couldn't  get  at  them. 
This  Duarc  pony,  now, 
has  repeatedly  run  half 
a  day  unattended,  in 
the  fastest  company. 
It's  a  sure  winner!" 


FAVORITE  IN  EARLY-SEASON  WORKOUT 


LONE  LINE  OF 


CHAMPIONS 

DUARC 
H.  I.  ARC 
SOLARSPOT 
SIDE  ARC— SCOOP 
and  ORIGINAL  INKIES 

All  Came  from  the  Plant  of 

MOLE-RICHARDSON  CO. 

941  NO.  SYCAMORE  AVE., 
HOLLYWOOD,  CALIFORNIA 


Early  -  season  work- 
outs of  Duarc,  the  new 
M-R  stables  pacemaker, 
showed  lots  of  form. 
More  recent  runs,  timed 
against  records  made 
by  Side  Arc  and  Pre- 
Vitaphone  Broad, 
champs  in  their  day, 
showed  Duarc  not  only 
beat  their  best  time 
(boosting  record  from 
40  minutes  to  2  hours, 
10  minutes,  22  2/5  sec- 
onds), but  showed  con- 
sistently steadier  per- 
formance, without  a 
ghost  of  flicker.  Older 
entries  regularly  flick- 
ered all  over  the  track, 
but  the  Duarc  keeps 
steady  under  any  con- 
ditions. 


458      American  Cinematographer    •    November,  1938 


ENGINEERS  WILL  DISCUSS 
THIRTY  PAPERS  AT  MEET 


THIRTY  technical  papers  and  pres- 
entations round  out  a  full  three 
days'  program  for  the  Society  of 
Motion  Picture  Engineers  at  the  Hotel 
Statler,  Detroit,  October  31  to  November 
2.  Papers  on  sound  recording  and  repro- 
duction, studio  lighting,  theater  practice, 
film  processing  and  various  other  phases 
of  motion  picture  engineering  will  be 
treated. 

Included  are  several  papers  on  tele- 
vision by  engineers  of  the  RCA  Manufac- 
turing Company  and  the  General  Electric- 
Company,  and  one  of  the  most  promising 
of  the  presentations  will  be  the  story  of 
"Technicolor  Adventures  in  Cinemaland" 
by  Dr.  Herbert  T.  Kalmus. 

The  convention  opens  officially  Mon- 
day, October  31.  One  of  the  first  events 
of  the  program  will  be  the  counting  of 
the  election  ballots  for  officers  for  1939. 
The  retiring  officers  are:  S.  K.  Wolf, 
president;  H.  G.  Tasker,  past  president; 
K.  F.  Morgan,  executive  vice  president; 
E.  A.  Williford,  financial  vice  president; 
J.  I.  Crabtree,  editorial  vice  president; 
W.  C.  Kunzmann,  convention  vice  presi- 
dent; J.  Frank,  Jr.,  secretary;  L.  W. 
Davee,  treasurer;  M.  C.  Batsel,  gover- 
nor; and  A.  N.  Goldsmith,  governor. 


Nominees  for  office  for  1939  are:  E.  A. 
Williford,  president;  N.  Levinson,  execu- 
tive vice  president;  A.  S.  Dickinson, 
financial  vice  president;  J.  I.  Crabtree, 
editorial  vice  president;  W.  C.  Kunz- 
mann, convention  vice  president;  J. 
Frank,  Jr.,  secretary;  L.  W.  Davee, 
treasurer;  M.  C.  Batsel,  G.  Friedl,  Jr., 
A.  N.  Goldsmith,  H.  G.  Tasker,  gov- 
ernors, (two  to  be  elected). 

At  noon  of  the  first  day  will  be  the 
informal  luncheon,  at  which  brief  ad- 
dresses will  be  presented  by  Richard  W. 
Reading,  mayor  of  Detroit;  Jamison 
Handy,  president  of  Jam  Handy  Corpor- 
ation; George  W.  Trendle,  president  of 
the  United  Detroit  Theaters  Corporation, 
and  Dr.  C.  F.  Kettering,  vice  president 
and  director  of  research  of  General 
Motors  Corporation. 

On  Monday  evening  will  be  a  motion 
picture  show  for  the  entertainment  of  the 
delegates  and  guests  in  the  banquet  hall 
of  the  hotel.  This  show  will  feature 
some  of  the  most  recent  outstanding 
releases. 

On  Tuesday  evening  will  be  the  semi- 
annual fall  banquet,  features  of  which 
will  be  the  presentations  of  the  SMPE 
Progress  Medal  and  Journal  Award.  The 


EVERYTHING  PHOTOGRAPHIC 

FOR  PROFESSIONAL  AND  AMATEUR 

The  World's  Largest  Variety  of  Cameras  and  Projectors.  Studio  and 
Laboratory  Equipment  with  Latest  Improvements  as  Used  in  the 
Hollywood  Studios.    New  and  Used. 

SEND  FOR  BARGAIN  CATALOGUE 

Hollywood  Camera  Exchange 

1600  CAHUENGA  BOULEVARD 
HO  3651  Hollywood,  California        Cable:  Hocamex 


LANDERS  <c  TRISSEL,  Inc. 
RENTALS   -  SERVICE 

MOTION  PICTURE  CAMERAS  -   BLIMPS  -  DOLLIES  -  CAMERA  CRANE 

AND  ALL  ACCESSORIES 


PHONE 
HE-2277 


6313  SUNSET  BOULEVARD  Night 

NEAR  VINE  STREET  Landers  HE-1311 

HOLLYWOOD,  CALIFORNIA  Trissel  -  No.  HoL  5992W 


former  is  presented  each  year  to  an  indi- 
vidual connected  with  the  industry  in 
recognition  of  any  invention,  research  or 
development  which,  in  the  opinion  of  the 
Board  of  Governors,  has  resulted  in  a 
sij^nificant  advance  in  the  development  of 
motion  picture  technology. 

The  Journal  Award  is  presented  each 
year  to  the  author  or  authors  of  the 
most  outstanding  paper  originally  pub- 
lished in  the  Journal  of  the  Society  du''- 
ing  the  preceding  calendar  year.  Th'i 
names  of  the  recipients  of  the  award  will 
be  announced  at  the  banquet. 

Among  the  papers  to  be  presented  are 
the  following: 

"A  16mm.  Studio  Recorder,"  R.  W. 
Benfer,  Electrical  Research  Products, 
Inc.,  New  York,  N.  Y.  (Demonstration.) 

"A  Motion  Picture  Dubbing  and  Scor- 


^ff^rts  in  Daytime -Fo<)  Sc^nYS- 
t)iffus^<l  F<7^us  and  many 


Gcoroc  H.  Schoibc 

ORIGINATOR  OF  EFFECT  FILTERS 


] 


1927  WEST  78'-  ST. 


LOS  ANGELES  CAL 


'FILMO&EYEMO' 

FILTER  HOLDERS 

ALL  MODEL  EYEMOS  and  FILMO  model 
D  series  adapted  to  accommodate  gelatin 
filters  in  individual  metal  holders.  Position 
between  rear  of  lens  and  film.  One  filter 
serves  all  lenses.  Write  for  literature. 

Patents  Pending 

National  Cine  Laboratories 

20-22  West  22nd  St.  Nev/  York  City 

Furrmost   Motion   Piclure  Mfc/ianical 
I  Lah'jialoncs  in  ihe  East.  ■ 


Literature 
on  request 


COOKE 
LENSES 

FINEST  CORRECTION 
FINEST  DEFINITION 
FINEST  NEGATIVES 

BELL  &  HOWELL  COMPANY 

Exclusive  World  Distributors  of 
Taylor-Hobson  Cooke  Cine  Lenses 
1848  LARCHMONT  AVENUE  CHICAGO 


EASTERN  gl^M 
HEADQUARTERS  hSIImB 
FOR  THE  ^%QH 

CAMERAMEN 

;o«oTTINGROOM  EQUIPMENT 

FRANK-ZUCKER           CABtf  ADDRKS •  CINEQUIP 

CfAMERA  EQUIPMENTco 

1600  BROADWAY  N  YC  \       CIrcle  6-5060 

November,  1938    •    American  Cinematdgrapher  459 


ing  Stage,"  C.  L.  Lootens,  Republic  Pro- 
ductions, Inc.,  North  Hollywood;  M.  Ret- 
tinger,  RCA  Manufacturing  Co.,  Inc., 
Hollywood,  and  D.  J.  Bloomberg,  Repub- 
lic Productions,  Inc.,  North  Hollywood. 

"Some  of  the  Problems  Ahead  in  Tele- 
vision," I.  J.  Kaar,  General  Electric  Com- 
pany, Bridgeport. 

"Some  Television  Problems  from  the 
Motion  Picture  Standpoint,"  G.  L.  Beers, 
E.  W.  Engstrom  and  I.  G.  MalofF,  RCA 
Manufacturing  Company,  Inc.,  Camden, 
N.  J.  (Demonstration.) 

"Independent  Drive  for  Camera  in  the 


MOVIOLA 

FILM  EDITING  EQUIPMENT 

Used  in  Every  Major  Studio 
Illustrated  Literature  on  request 

MOVIOLA  CO. 

1451  Gordon  St.  Hollywood,  Calif. 


A-c  Interlock  Motor  System,"  F.  G. 
Albin,  United  Artists  Studio,  Hollywood. 

"The  Evolution  of  Arc  Broadside 
Lighting  Equipment,"  P.  Mole,  Mole- 
Richardson,  Hollywood. 

Report  of  the  Studio  Lighting  Commit- 
tee, C.  W.  Handley,  Chairman. 

"A  Semi-Automatic  Follow-Focus  De- 
vice," John  Arnold,  M-G-M  Studio, 
Culver  City,  Calif. 

"The  Evaluation  of  Motion  Picture 
Films  by  Semimicro  Testing,"  J.  E.  Gib- 
son and  C.  G.  Weber,  National  Bureau  of 
Standards,  Washington. 

"The  Stability  of  the  Viscose  Type  of 
Ozaphane  Photographic  Film,"  A.  M. 
Sookne  and  C.  G.  Weber,  National  Bu- 
reau of  Standards,  Washington,  D.  C. 

"Underwater  Cinematography;"  E.  R. 
J.  Johnson,  Mechanical  Improvements 
Corp.,  Moorestown,  N.  J.  (Demonstra- 
tion.) 


Moorfield  &  Shannon  Book 
on  Moviemaking  Now  Ready 

Moorfield  &  Shannon  of  Nutley,  N.  J., 
has  published  its  second  and  enlarged 
edition    of    "Money    Saving    Tips  for 


MUST  SACRIFICE 

DE  BRIE  SUPER  PARVO 

ISew  Type  Ultra  Silent  Camera — 
l\o  Blimp  ISecessary 

Has  built-in  motor,  automatic  dissolve, 
pilot  pins  and  anti-buckling  device.  Four 
lOOO-ft.  magazines — 40  mm.  50  mm.  and 
75  mm.  F2.3  lenses,  De  Brie  upright  finder, 
set  of  front  attachments.  Leather  covered 
carrying  trunk.  It's  the  latest  type  equipment 
.  .  .  like  new! 

ratiiora  E(|uipnioni  V». 

1600  Broadway  New  York  City 

Tel.  Circle  4-5080  Cable:  Cinequip. 


Moviemakers,"  a  5  by  7  inch  book  of 
thirty-five  chapters  and  sixty-seven 
pages.  It  retails  for  50  cents.  The  pub- 
lication offers  practical  hints  on  editing, 
projection,  trick  titles,  developing, 
photography  and  many  other  subjcts. 

The  titles  of  the  first  five  chapters  in 
the  book  provide  a  fair  criterion  of  its 
contents.  These  are  "Edit  Your  Pictures 
with  a  Professional  Touch,"  "Fades  and 
Wipes  with  Easel-Type  Titlers,"  "Ma- 
terials for  Making  Title  Cards,"  "Good 
Projection  Improves  Interest  in  Films" 
and  "How  to  Develop  Short  Lengths  of 
Movie  Film." 


Academy  Releases  Test 
Reels  four  Theatres 

Major  Nathan  Levinson,  vice-chairman 
of  the  Academy  Research  Council,  has 
appointed  a  committee  to  investigate  the 
possibilities  for  coordinating  the  produc- 
tion of  duplicating  master  prints  and 
negatives. 

This  committee,  which  will  function 
under  the  chairmanship  of  Gerald  M. 
Best  of  WaiTier  Brothers  Studios,  will 
include  in  its  membership  Lawrence  A. 
Aicholtz,  Fred  Albin,  Philip  E.  Brigandi, 
L.  E.  Clark,  Alan  Freedman,  Franklin 
LaGrande,  Michael  Leshing,  Charles 
Levin,  A.  W.  Miller,  J.  M.  Nickolaus, 
Gerald  Rackett,  George  Seid,  Sidney 
Solow,  Joseph  Spray,  John  Swain,  Ray 
Wilkinson  and  Gordon  S.  Mitchell,  man- 
ager of  the  council. 

Claude  Parfrey  of  the  Elstree  Labora- 
tories, London,  England,  and  Randall 
Terraneau  of  the  Humphries  Labora- 
tories in  London  will  serve  to  represent 
the  British  film  industry  on  this  com- 
mittee. 


ySEO  m  REBUILT 

Bell  &  Howell 

Camera  Equipment 

B  &  H  CAMERA  No.  542 

with  silenced  I  shuttle 


B  &  H  CAMERA  No.  439 

with  high  speed  check  pawl 
shuttle,    Hi-speed    12    v.  motor 


B  &  H  CAMERA  No.  751 

with    standard    unit    I  shuttle 


B  &  H  CAMERA  No.  777 

with    silenced    Hi-speed  shuttle 


B  &  H  CAMERA  No.  895 

with    standard    unit    I  shuttle 


B  &  H  CAMERA  No.  361 

with    standard    unit    I  shuttle 


Complete  equipments 
or  heads  only 

Large  quantity  of  400  ft.  and 
1000  ft.  magazines  —  sunshades 
— finders — tripods — lenses. 


Write,  Wire  or  Cable  Your 
Reqit  irem  en  ts 

Motion  Picture 
Camera  Supply,  Inc. 

72i  Seventh  Ave. 
New  York  City 

Cable    Address— CINECAMERA 


Camera  Supply  Co. 

FOR 

Efficient-Courteous  Service 

GORDON  BENNETT— MANAGER 
• 

Everything  Photographic 
Professional  and  Amateur 
• 

New  and  Used  Equipment 
Bought — Sold — Rented 
• 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga  Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address — Cameras 


460     American  Cinematographer    •    November,  1938 


Four  Cameras  Needed 

(Continued  from  Pacje  hhl>) 

ing  still  and  Powell  is  flying  through 
the  air^ — but  with  no  ease  at  all! — Mari- 
gold would  probably  have  used  his  Leica 
under  any  circumstances.  But  an  un- 
usual circumstance  dictated  its  choice 
very  definitely. 

The  horse  used  was  high-spirited  and 
skittish,  and  had  once  shied  at  the  still 
man  operating  his  Graflex.  By  lying  flat 
and  using  the  Leica  with  its  noiseless 
shutter  he  didn't  endanger  the  succe.ss 
of  the  scene  nor  Powell's  safe  landing! 

Flynn  Still  Camera  Shy 

The  outdoor  scene  of  "Dawn  Patrol" 
is  a  true  off-stage  candid — that  is,  it  was 
taken  just  after  a  scene  was  finished  and 
the  actors  were  heading  for  lunch. 

Errol  Flynn,  bareheaded  at  the  right, 
is  very  still-camera-sensitive  and  would 
either  hidden  or  posed  had  he  seen  Cam- 
eraman Bert  Six's  concealed  Leica. 
As  it  was  he's  very  natural  as  he  dashes 
after  his  friend  David  Niven,  bent  -m 
playing  a  practical  joke  on  him. 

In  contrast  see  Six's  scene  snapped 
during  the  filming  of  a  scene — of  the 
actors  singing.  Here,  too,  however,  his 
activity  with  a  Leica  was  unseen  by 
Flynn. 

The  scene  showing  the  "Dawn  Patrol" 
aviators  rushing  to  the  wrecked  plane 
of  a  comrade  illustrates  the  Leica's  great 
advantage  at  "quickness  on  the  draw" 
and  comparatively  rapid  shooting.  Six 
took  a  series  of  these  while  running 
ahead  of  the  men  and  keeping  out  of 
camera  shot  of  the  receding  motion  cam- 
era on  its  truck. 

Finally,  the  shot  of  Flynn  and  Niven 
just  as  they  were  dumped  from  a  motor- 
cycle, dodging  a  diving  plane  or  some- 
thing of  that  sort — and  laughing  so 
heartily  at  the  same  time — shows  prac- 


AF  1.8 
S  T  R  O 

LENSES 


for  sale  by 

Mitchell  Camera  Corporation 

665  North  Robertson  Blvd. 
West  Hollywood,  California 


tically  the  whole  assortment  of  Leica 
virtue  for  still  photography. 

It's  candid,  it's  fast  action  taken  while 
motion  picture  cameras  were  going  and 
sound  was  functioning,  it's  taken  from 
a  difficult  set-up  (a  precarious  perch 
on  the  rungs  of  a  parallel  ladder)  and, 
just  incidentally,  it  has  almost  the  tech- 
nical quality  of  an  8  by  10! 


Roy  Scott  Advances 

Roy  F.  Scott,  who  joined  Bell  &  How- 
ell Company  early  in  the  year  as  an  aid 
in  the  sales  department  educational  divi- 
sion, has  been  promoted  to  the  post  of 
assistant  manager  of  that  divison. 

For  the  past  twelve  years  Mr.  Scott 
has  been  working  in  the  fields  of  institu- 
tional finance  and  public  relations,  direct- 
ing school  and  church  activities  and 
promoting  character  training  programs. 

In  his  advanced  capacity  Mr.  Scott 
will  carry  on  his  work  of  designing  liter- 
ature assisting  institutions  to  make  moie 
effective  use  of  motion  picture  equii)ment 
and  films  and  assume  broader  contacts 
in  the  application  of  such  information  in 
the  educational  and  promotional  selling 
fields. 


Record  Dallon  Tele- 
photo  Lens 

(C(mtinued  from  Page  A50) 

for  press  work,  it  obviously  offers  tre- 
mendous possibilities  to  all  amateur  and 


professional  photographers  and  cine- 
matographers.  It  is  for  this  reason  the 
company  has  decided  to  list  the  lens  as 
a  standard  catalogue  product  and  ar- 
range for  its  adaptability  to  all  types 
of  photographic — including  miniature 
and  cinematograph — cameras,  both  ama- 
teur and  professional. 


FAXON  DEAN 

INC. 

CAMERAS 

BLIMPS-DOLLYS 

FOR  REIVT 

MO.  11838 

4516  Sunset  Boulevard 
Night,  NO.  22563 


the  BERNDT-MAURER  Model  "F" 
High  Fidelity  Sound-on-Film  Unit  for 

35  mm.  SYMMETRICAL  VARIABLE -AREA  RECORDING 

Built  for  utmost  flexibility  of  electrical  operation  and  thoroughly 
tested  under  actual  operating  conditions,  the  B-M  Model  "F" 
Symmetrical  Variable- Area  Recording  Unit  incorporates  the  vi- 
brating mirror  element  of  the  highly  successful  Model  "E" 
Unilateral  Recording  Unit,  and  carries  the  same  TWO  YEAR  un- 
conditional guarantee  against  breakdown  in  service. 

The  Model  "F"Unit  requires  no  attention  after  installation,  as  it 
is  put  into  permanent  and  correct  adjustment  before  delivery. 

Compact  design  of  the  Model  "F"  Unit  permits  convenient  in- 
stallation on  any  35  mm.  sound  camera  or  recorder.  Write  for 
complete  specifications  and  frequency  response  curve, 

Berndt- Maurer  Model  "E"  High  Berndt- Maurer  Model  "F"  High 
Fidelity  Unilateral -Track  Recording  Fidelity  Symmetrical -Track  Record- 
Unit,  frequency  range  0  to  10,000  ing  Unit,  frequency  range  0  to  10,000 

cycles  $350.     cycles  $450. 

F.  O.  B.  New  York  F.  O.  B.  New  York 

THE  BERnOT-mnURER  CORP 

117  EHST  24th  STREET*  HEUl  VORH  IITV 


You  can  say  it 
over  and 
over 
again 

EASTMAN 

SUPER  X 
NEGATIVE 

It  leads  the  entire  industry 
because 

its  performance 
is  faultless! 

J.  E.  BRULATOUR,  Inc. 

DISTRIBUTORS 


New  Fllmosound  142  (above).  Powerful  amplifier,  750-watt  lamp, 
Magnilite  condenser,  and  fast  F  1.6  lens  assure  ample  sound 
volume  and  picture  brilliance,  even  in  a  moderate-sized  audi- 
torium. Has  mechanism-quieting  "blimp"  case,  microphone  and 
phonograph  input  system,  reversing  mechanism,  still  picture 
clutch,  electric  rewind,  and  every  feature  for  film  protection. 
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HIT  FILMS  FOR  THE  WORLD'S  MOST  EXCLUSIVE 
MOVIE  THEATER- YOUR  OWN  HOME! 

The  Filmosound  Library  has  thousands  of  new  16 
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can  rent  or  purchase.  Send  coupon  for  complete  list. 

A  FEW  REPRESENTATIVE  TITLES 


LittleMan,WhatNow?  (Marga- 
ret Sullavan)  '  There's  Always 
Tomorrow  {Frank  Morgan)  • 
Doctor  Syn  {George  Arliss)  • 
Bring  'Em  Back  Alive  {Frank 
Buck)  •  Let's  Sing  Again  {Bobby 


Breen)  •  White  Legion  {Ian 
Keith)  •  Beloved  {John  Boles) 
•  Top  of  the  Town  {Hugh 
Herbert)  •  The  Road  Back 
{Remarque's Novel)  •  Counsel- 
lor at  Law  {John  Barrymore). 


Filmosound  "Academy"  (ri^f).  Includes  all  the  fea- 
tures essential  for  home  projection  of  16  mm. 

sound  and  silent  films.  The  low  price  has  been  achieved  by  simplification  of 
controls  and  through  the  economies  of  quantity  production.  There  is  no  devia- 
tion from  B&H  standards  of  precision.  With  750-watt  lamp,  1600-foot  film 

capacity,  complete  in  two  cases,  only  $298 

Filmosound  "COMMERCIAL"  is  another  new  model,  similar  to  the 
"ACADEMY"  but  projecting  only  sound  films.  In  single  case,  only  S2  76 


NEW  Filmosounds  now  bring  sound-film  projection  to  the  home 
living  room  at  prices  within  the  means  of  most  1 6  mm.  film  users. 
You  can  now  present  sound  films  at  your  home  or  at  the  homes  of 
friends  .  .  .  for  Filmosounds  are  readily  portable.  Make  your  film 
selection  from  the  thousands  of  modern  subjects  offered  at  moderate 
rentals  by  the  B&H  Filmosound  Library. 

And  with  the  same  Filmosound  you  can  project  your  own  16  mm. 
silent  films!  Adding  a  microphone,  you  can  accompany  your  silent 
films  with  amplified  comments.  Or,  with  a  disc  record  turntable,  you 
can  have  musical  accompaniment  with  your  silent  subjects. 

The  new  Filmosounds  offer  the  utmost  in  brilliant,  steady  projec- 
tion, in  faithful  sound  reproduction,  in  ease  of  operation,  in  quiet 
mechanisms.  Filmosounds  are  enduring  and  dependable— built  by 
the  makers,  since  1907,  of  Hollywood's  preferred  studio  equipment. 

Write  now  for  details  about  the  new  Filmosounds.  Use  the  coupon. 
Bell  &  Howell  Company,  Chicago,  New  York,  Hollywood,  London. 
Established  1907. 


Great  Guy.  Jimmy  Cagney  at 
his  best — exposing  racket- 
eers in  smash-bang  fashion. 


Girl  Loves  Boy  stars  Eric  Linden 
and  Cecilia  Parker;  tells  down- 
to-earth  drama  of  small  town  life. 


BELL  &  HO 


Bell  &  Howell  Company  ac  n-ae 

1848  Larchmont  Avenue,  Chicago,  Illinois 
Please  send  complete  details  on  □  Filmo- 
sound 142;  □  Filmosound  "ACADEMY"; 
□  8  mm.  Filmo  Silent  Projectors.  Also  □  send 
list  of  movies  available  from  Filmosound 
Library. 


nMERICAN  CINEMATOGRAPHER 
nMATEUR  MOVIES  SECTION 


The  finest  possible 
projector  for  16  mm. 
sound  films 


In  performance,  in  appear- 
ance, in  countless  significant 
details,  former  standards  of 
excellence  have  been  left  far 
behind  in  Sound  Kodascope 
Special.  Sound  Kodascope 
Special  is  unique,  definitely 
the  finest  possible  16  mm. 
sound  film  projector. 


CONSIDER  these  features :  automatic  film  loop  formers  ...  a  viscous 
drive  that  assures  smooth,  constant  film  movement  at  the  critical 
moment  when  the  sound  track  is  scanned  .  .  .  unprecedented  simplicity 
of  operation  .  .  .  quiet  mechanism  ...  a  sound  system  capable  of  ample 
volume,  without  distortion,  plus  unrivaled  realism  .  .  .  precise,  two-point 
shift  in  the  focus  of  sound-optics  to  assure  optimum  results  with  either 
duplicate  or  reversal  film  .  .  .  choice  of  operating  speeds  to  meet  require- 
ments of  silent  as  well  as  sound  film  projection  ...  a  separate  motor  for 
rewind,  oi)eration  of  which  automatically  cuts  out  the  amplifier  .  .  . 
choice  of  excellent  lenses  .  .  .  microphone  plug  .  .  .  physical  compactness 
and  heauty,  outward  evidences  of  brilliant  design. 

Write  for  descrij)tive  booklet,  fully  illustrated.  No  charge,  of  course. 
Tlie  iKinu"  of  the  dealer  nearest  you  showing  Sound  Kodascope  Special 
will  be  gladly  given. 


EASTMAN    KODAK    COMPANY,  ROCHESTER, 


November,  1938 


•    American  Cinematographer  465 


AMATEUR  MOVIE 


SECTION 


Contents.... 


SOCIETY 

OF  AMATEUR 

CINEMATOGRAPHERS 


BOARD  OF  REVIEW 

Victor  Milner,  President,  A.S.C.,  Director 
of  Photography  Paramount  Studios,  Acad- 
emy Award  Winner  1935 

Karl  Struss,  A.S.C.,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award 
Winner  1928. 

Fred  W.  Jackman,  Treasurer  American  So- 
ciety of  Cinematographers 

Dan  Clark,  A.S.C.,  Director  of  Photog- 
raphy Twentieth  Century-Fox 

Tony  Gaudio,  A.S.C.,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 
Award  Winner  1937 


Giving  wings  to  camera  466 

Close-up  story  filming  467 

By  Ormal  I.  Sprungman 

Kodak  issues  three  tripod  accessories.  .470 

It  gets  in  your  blood  471 

By  Richard  H.  Lyford 

Unseld  now  assistant  to  Bell  &  Howell's 
advertising   chief  473 

Systematic  editing  of  movie  film  for  the 

amateur   474 

By  Julian  F.  Schmidt 

Raising  stills  from  16mm.  frames  476 

By  Dr.  Albert  N.  Mueller 

Agfa  announcing  f:6.3  Clipper  Special.  .477 

128-Page  book  records  Visual  Education 
meet   478 

Cinema  music  classes  added  to  U.  S.C.'s 
list   479 

Fox  installs  new  make-up  lamps  479 

Plan  your  dramas  480 

By  William  Stull,  A.S.C. 

Notes  of  the  movie  clubs  481 

Agfa  announces  two  tripods  for 

amateurs   482 

Midget  sun  is  1000-watt  cigarette  sized 
mercury   483 

Eastman    issues    series    of  moderate 
priced  35mms  484 


466     American  Cinematographer    •    November,  1938 


Giving  lyVin^s  to  Camera 


ON  the  evening  of  the  next  to  the 
last  Monday  in  October  the  Colum- 
bia Camera  Club,  a  Pacific  Coast 
broadcast  over  the  Columbia  netw^ork, 
held  its  first  sessions  with  an  audience. 
Heretofore  since  the  club's  formation, 
last  June,  the  sessions  have  been  in  what 
the  lawyers  describe  as  "in  camera,"  the 
term  sometimes  used  when  judges  hold 
court  in  their  private  chambers. 

One  hundred  and  fifty  persons  filled 
the  broadcasting  room  when  Frank  Gra- 
ham introduced  Maurie  Webster  as  the 
speaker  of  the  evening  in  charge  of  the 
mike.  The  latter  started  off  the  fifteen 
minutes  on  the  air  by  telling  his  listen- 
ers how  to  take  pictures  indoors  when 
the  weather  was  less  inviting  for  sun- 
shine shots. 

Membership  in  this  club  may  be  ob- 
tained by  sending  a  stamped  self-ad- 
dressed envelope  to  the  Columbia  Camera 
Club,  Columbia  Square,  Hollywood.  The 
membership  card  will  follow.  The  Paci- 
fic Coast  has  responded  to  the  idea  of 
the  camei'a  club  on  the  air  by  sending  in 
4400  applications. 

The  guest  of  the  evening  was  J.  Ed- 
ward Bromberg,  who  has  just  completed 
a  part  in  Twentieth-Fox's  "Suez."  He 
was  not  introduced  as  an  actor,  how- 
ever. Rather  it  was  as  an  amateur  pho- 
tographer. In  telling  his  experiences 
with  his  new  camera  and  the  accompany- 
ing equipment  the  speaker  intimated  that 
others  in  a  position  similar  to  that  in 
which  he  recently  found  himself  well 


might  take  warning  and  be  prepared  to 
remain  at  home  and  not  to  go  on  location 
for  an  absence  of  several  days — that  is, 
as  just  previously  in  creating  a  dark 
room  he  had  personally  reordered  domes- 
tic arrangements  to  such  an  extent  that 
his  wife  had  encountered  difficulty  in 
finding  things  that  prior  to  that  time 
she  had  been  able  to  make  stay  where 
they  had  been  put.  But  let  the  speaker 
tell  his  own  story — we  are  quite  sure  all 
women  will  enjoy  it,  even  if  the  men 
don't : 

Bromberg:  It  all  started  when  I  first 
bought  my  camera.  Of  course,  there  had 
to  be  a  darkroom  some  place,  so  I  de- 
cided to  use  my  bathroom.  It  worked 
out  beautifully.  The  enlarger  covered 
up  most  of  the  bathtub,  but  I  use  the 
shower  anyway,  so  that  didn't  matter. 
The  medicine  case  filled  up  with  chemi- 
cals, so  I  moved  the  toilet  articles  into 
my  bedroom.  My  wife  didn't  exactly  ap- 
prove of  that,  but  there  wasn't  much  she 
could  do.  Then  I  covered  the  bathroom 
windows  with  black  cardboard,  and  found 
it  was  so  dark  I  couldn't  see  to  shave.  I 
had  to  move  into  the  family  bathroom 
after  that,  and  that  started  her  planning 
to  get  even  with  me. 

Webster:    What  was  the  result? 

Bromberg:  She  waited  until  I  went 
to  Victorville  for  a  few  days  last  week, 
and  then  all  the  bitterness  that  had 
welled  up  in  her  soul  boiled  over  in  one 
great  stroke  of  retaliation.  I  shudder  to 
think  of  it,  even  now. 


Webster:  But,  I  still  can't  under- 
stand.   What  was  it  she  did? 

Bi-omberg:  What  was  it  she  did?  Can 
you  imagine  anything  worse?  She  cleaned 
my  room !  The  shelves  of  chemicals  were 
washed  and  the  bottles  put  in  order.  My 
equipment  was  neatly  put  in  place.  Ail 
my  films  were  stacked  in  regular  rows. 
(Sigh.)  I  doubt  if  I'll  ever  be  able  to 
find  anything  now! 

Webster:  That's  too  bad.  I  know  just 
how  you  feel. 

Bromberg:  Seriously,  though,  Maurie, 
my  wife  has  given  me  much  help  with 
my  hobby.  And  our  son  Conrad — he's 
six  and  a  half  years  old — is  one  of  the 
best  models  I've  ever  had.  He  loves  to 
pose  for  all  kinds  of  pictures,  and  gets 
a  particular  pleasure  from  acting  soi-- 
rowful  or  angry. 

Webster:  He's  probably  preparing  to 
follow  in  his  father's  footsteps. 

Bromberg:  Perhaps  so,  but  I'll  be 
sorry  to  lose  him  as  a  model.  Since  tak- 
ing up  photography  I've  rather  special- 
ized in  portrait  work  and  I  demand  quite 
a  bit  of  anyone  who  consents  to  pose 
for  me.  In  fact,  I  frequently  talk  my 
friends  at  the  studio  into  helping  me 
out. 

Webster:  Oh,  so  you're  another  one 
of  those  who  takes  his  camera  to  work 
with  him! 

Bromberg:  You  bet  I  am!  And  I 
have  some  fine  pictures  I've  taken  around 
the  various  sets.  You  see,  I  don't  let  my 
love  of  portrait  work  exclude  other  kinds 
of  shots. 

Webster:  I  don't  want  to  seem  in- 
sistent, but  I  think  there  might  be  a 
story  about  one  of  those  pictures  and 
I  know  we'd  like  to  hear  it. 

Bromberg:  There  have  been  several 
interesting  incidents,  but  one  of  the  most 
thrilling  occurred  during  the  filming  of 
"Suez,"  my  latest  picture,  with  Tyrone 
Power,  Lcretta  Young  and  Annabella, 
which  opens  all  over  the  countrj-  this 
week. 

Webster:  You  have  an  audience,  so 
let's  have  the  story. 

Bromberg:  The  climax  of  the  picture, 
as  you  have  probably  heard,  is  a  simoon 
— that  most  dreaded  of  all  windstorms  in 
the  desert.  Lou  Witte  and  Fred  Sersen, 
who  created  the  fire  for  "In  Old  Chicago" 
staged  the  sand  tornado,  using  twenty- 
four  wind  machines  powered  with  air- 
plane motors  and  propellors. 

The  more  I  thought  of  it,  the  more 
determined  I  was  to  get  a  picture  of 
the  simoon.  Of  course,  I  could  have  ob- 
tained a  shot  from  the  publicity  depart- 
ment, but  that  wasn't  quite  the  same  as 
shooting  it  myself.  You  see,  the  part 
of  the  script  which  called  for  me  to  be 
in  the  storm  didn't  come  for  several  days 
yet,  and  I  was  free. 

It  was  scheduled  to  start  on  a  Tues- 
(Continued  on  Page  U78) 


Cantre  in  John  J.  Alton,  A.S.C.,  directing  -photography  on  the  just  completed 
"M(ulreHelva,"  "firnt  million  peso"  production  of  Argentina  for  Argentina  Sono  Film. 
Directed  by  Luis  Cesar  Amador. 


CLOSE-UP 

TORY 
FILMING 


By  Ormal  L  Sparungmaii 

Photographs  by  the  writer  unless  otherivise  noted 


Most  every  variety  of  fisli  photographs  well  in  close-up.  This 
crappie  was  filmed  a  feiv  seconds  after  he  nabbed  a  fly  and  was 
brought  to  net.  Perfect  centering  and  proper  focus  are  essential 
in  close-up  movie  filming. 


NOT  the  long  shot  nor  the  medium 
shot,  but  the  close-up  is  the  real 
attention-getter  in  amateur  movie- 
making. It's  the  close-up  that  tells  the 
story.  Yet  many  button  pushers  are  no- 
torious for  their  failure  to  inject  enough 
close-ups  in  average  reels. 

They  shoot  their  friends  full  length 
when  bust  views  or  facial  studies  hold 
much  more  interest.  They  expose  exces- 
sive footage  on  long  shots  of  landscapes 
and  campsites  and  portage  trails,  ignor- 
ing the  wealth  of  movie  material  that 
lies  within  fingertip  range. 

Actually,  the  close-up  is  so  revealing 
that  full-length  features  can  be  produced 
entirely  with  close-ups,  without  once  in- 
troducing a  medium  or  long  shot,  or  even 
a  title.  However,  no  long  shot  filmer 
should  ever  plunge  headlong  into  the 
intricacies  of  close-up  filming.  The  shock 
is  apt  to  be  fatal,  the  results  disastrous. 

For  close-upping  a  film  story  you  don't 
have  to  go  beyond  your  cabin  or  cottage 


by  the  lake.  You  can  stay  right  in  the 
old  home  town,  if  you  like. 

As  a  suitable  subject,  try  filming  the 
morning  "rise"  with  close-ups  of  hands, 
feet  and  other  objects  portraying  all  the 
action  and  necessary  movement.  Plan 
your  shots  so  that  they  will  be  titleless 
yet  self-explanatory.  It's  easier  than  you 
think. 

Shoot  the  Feet 

If  you're  a  city  dweller,  open  with  a 
close-up  of  a  milk  wagon  wheel  creaking 
over  the  pavement.  Then  shoot  the  feet 
of  the  attendant  as  he  leaps  from  the 
wagon  and  runs  up  the  walk  to  your 
home. 

Show  a  milk  bottle  or  two  being  de- 
posited on  your  rear  door  step,  then 
follow  the  trotting  feet  back  to  the 
wagon.  As  the  driver  leaps  aboard,  an 
empty  bottle  flips  from  his  basket  and 
crashes  to  the  pavement. 

Cut  this  crash  scene  abruptly  and  go 
immediately   to    an   upstairs  bedroom. 


showing  two  feet  excitedly  sliding  into 
slippers  on  the  floor  and  trotting  over  to 
the  window.  The  shade  is  raised,  disclos- 
ing the  dial  of  the  alarm  clock  in  close- 
up.  It's  far  too  early.  The  feet  return 
to  bed. 

A  neighborhood  cat  climbs  up  on  the 
back  fence  and  starts  nocturnal  yowling. 
(You  can  take  this  shot  any  time  after 
sundown  by  silhouetting  the  pet  on  a 
fence  against  the  semi-glowing  western 
sky).  Once  again  feet  slide  into  slippers, 
a  window  is  opened,  and  a  well-aimed 
missile  sends  Tabby  scampering  for 
safety.  Once  more  there  is  quiet,  but 
not  for  long. 

Make  Clock  Dance 

Swing  to  a  close-up  of  the  alarm  clock 
ringing.  To  give  the  joggling  effect, 
grasp  the  clock  in  the  rear,  being  careful 
to  keep  the  hand  out  of  camera  range, 
and  make  it  dance  grotesquely  over  the 
table  top. 

For  the  third  time,  feet  slide  into 
slippers  (you  can  take  all  three  of  these 
shots  simultaneously  and  splice  them  into 
proper  position)  ;  then  show  a  few 
setting-up  exercises  in  close-up  and  the 
entry  and  exit  from  the  shower  room. 
The  razor  and  toothbrush  should  come 
in  for  at  least  one  convincing  close-up, 
the  shoe-clad  feet  next  ambling  down- 
stairs to  meet  the  wife's. 

From  this  point  on  reveal  the  break- 
fast meal  preparations  at  close  range, 
showing  milk  fetching,  coffee  percolating, 
bread  toasting,  and  bacon  crisping  in  the 
pan.  Shoot  no  facial  expressions,  only 
close-ups  of  hands  in  natural  gestures. 

Finally,  the  napkin  is  deposited, 
wrinkled,  beside  the  grease-streaked 
plate,  the  chair  is  pushed  from  the  table, 
and  the  husband  slips  into  his  coat  as  he 
walks  toward  the  door.  Reveal  a  close-up 
of  the  two  pairs  of  feet  as  the  wife  rises 
on  tiptoes  to  receive  the  good-bye  kiss. 


An  action  close-up  of  landing  a  sea  fish, 
enlarged  from  an  Srnrn  movie  frame  from 
the  prize  film  of  Dr.  Morns  R.  Haigh, 
San  Diego,  Calif.,  dentist. 


This  is  an  old  trick  which  has  been 
used  numerous  times  in  professionally 
produced  movies. 

Close-up  Office  Activities 

Now  go  on  with  the  story,  close-upping 
the  activities  of  the  day  at  the  office  and 
the  return  home  at  nijjht.  To  make  the 
piece  really  human  and  appealing,  intro- 
duce scenes  of  retiring  and  repeat  the 
milkman-and-Tabby  cycle  for  a  novel 
touch  before  the  complete  fade. 

Since  many  .set-ups  will  be  taken  in- 
doors with  artificial  light,  use  only  suffi- 
cient illumination  to  give  a  desirable 
shadowy  effect,  one  photoflood  or  spot- 
light being  about  right.  For  the  outdoor 
stuff,  it  may  be  necessary  to  use  a  very 
small  aperture  to  give  the  impression  of 
early  morning. 

Naturally,  the  foregoing  sketch  can  be 
altered  to  fit  local  conditions,  and  any 
enterprising  amateur  will  find  numerous 
ways  in  which  to  improve  upon  it. 

Perhaps  you  lean  less  toward  domes- 
ticity and  more  toward  outdoor  sports. 
A  close-up  movie  story  of  any  outdoor 
.sport  is  a  downright  cinch  to  make.  Take 
hunting,  for  instance. 

Instead  of  shooting  the  usual  long  and 
medium  shots  and  dubbing  in  titles, 
figure  out  what  actions  filmed  in  close- 
up  are  desirable  to  impress  the  audience 
that  a  hunt  is  in  progress.  This  sounds 
a  lot  harder  than  it  really  is. 

Suppose  a  duck  hunt  is  in  the  offing. 
Open  with  a  close-up  of  hand-held  decoy 
being  dabbed  with  paint.  Raise  the 
camera  to  a  wall  calendar  denoting  the 
approach  of  the  duck  season,  and  when 
you  swing  down  again  show  the  same 
hands  oiling  and  polishing  the  old 
scattergun. 

Plant  Decoys 

You  can  unfold  the  preparations  and 
the  actual  journey  by  car,  or  hop  right 
into  the  duck  action  by  shooting  a  close- 
up  of  a  pair  of  rubber  boots  crunching 
through  thin  ice  to  reach  the  blind.  Plant 
the  decoys,  and  then  return  to  a  close-up 
of  the  scattergun,  showing  a  shell  or  two 
being  injected  into  the  chamber.  Fade 
out. 

If  you  want  a  hunting  film  that's  really 
different  show  no  ducks  V-ing  through 
the  skies  or  guns  barking  and  birds 
falling.  Instead,  fade  in  on  a  close-up  of 
a  dead  duck  back  at  camp,  and  show  a 
pair  of  hands  plucking  feathers. 

Follow  through  with  the  application  of 
the  paraffin  to  remove  the  soft  down,  and 
then  reveal  a  hand  thrusting  chopped 
apples  into  the  slitted  belly.  A  stitch  or 
two  and  the  bird  rides  into  a  hot  oven, 


Top — Telling  a  film  story  entirely  with 
close-up  views  offers  a  new  and  intriguing 
pastime  for  movie  makers.  For  a  duck 
hunting  reel,  start  ovt  with  decoys  float- 
ing on  ivater. 

This  dramatic  close-up  of  injecting  a  shell 
in  the  gun  chamber  will  fit  the  sequence 
of  any  bird  hunting  film. 

Swing  from  a  close-up  of  a  dead  mallard 
to  a  pair  of  hands  plucking  the  feathers. 


November,  1938    •    American  Cinematographer  469 


from  which  inferno  it  is  later  delivered, 
deliciously  brown,  to  a  lavishly  set  table. 

Stand  on  a  chair  and  shoot  vertically 
while  the  bird  is  being  carved.  If  the 
background  is  rather  dark,  you  may  even 
catch  the  first  whiff  of  rising  steam. 

Now  fadeout  and  fadein  on  a  close-up 
of  the  bones  heaped  on  a  plate,  and,  for 
a  unique  finale,  show  a  close-up  of  a  hand 
reaching  over  the  table  and  lifting  a  hot 
dish  cover,  exposing  no  dish  at  all  but 
the  wooden  jigsawed  letters,  spelling 
The  End. 

Change  to  Suit  Fancy 

This  script  isn't  limited  to  duck  filming 
alone,  for  quail,  partridge  and  pheasant 
fit  in  remarkably  well,  to  say  nothing  of 
gray  squirrels,  coons  and  free-wheeling 
bunnies.  Change  things  to  suit  your  own 
fancy. 

A  fishing  jaunt  also  is  easy  pickings 
for  the  close-up  story  fan.  Here,  how- 
ever, the  cine  titler  may  be  used  to  pre- 
sent ultra-close-ups  of  fish  heads  or 
hand-knotted  flies.  Disclose  a  near  shot  of 
a  newspaper  headline  heralding  the  start 
of  the  angling  season. 

Lower  the  paper  against  a  pitchy  black 
background  and  bring  the  hands  into 
position  to  show  a  royal  coachman  or 
gray  hackle  being  tied  to  the  leader.  Hold 
hands  and  fly  behind  the  title  frame  of 
the  cine  titler  for  a  striking  enlargement 
of  this  scene. 

Next,  catch  wading  boots  splashing 
about  in  the  stream,  with  an  occasional 
telephoto  shot  of  a  rising  trout  to  add 
interest.  Angling  action  and  suspense 
appear  best  in  close-ups  of  an  excited 
face,  a  spinning  reel,  a  bowing  rod. 

When  a  fish  is  brought  to  net,  pull  the 
camera  in  close  for  an  interesting  study 
of  the  fish  itself.  Intersperse  the  footage 
with  wading  boots  sequences  or  blister- 
producing  rowing  (if  you  use  a  boat), 
and  watch  for  occasional  glimpses  of  wild 
life  or  wild  flowers  to  relieve  possible 
monotony. 

Close-up  Fishcleaning 

When  the  angler  returns  to  cabin  or 
camp,  handle  the  fishcleaning  sequences 
in  close-up  form  the  same  as  the  feather- 


To?:) — Peeling  cooled  paraffin  from  the 
body  of  the  bird  to  remove  down.  Thi^ 
is  one  of  the  many  steps  in  the  bird 
cleaning  process  which  a  close-up  movie 
should  portray.  Folloiv  through  with  the 
bird  being  removed  from  the  oven  and 
served  on  the  table. 

Signs  often  make  good  title-savers.  This 
8mm  frame  enlargement  is  from  "Sport- 
fishing  Off  Southern  Shores,"  by  Dr. 
Morris  R.  Haigh  of  San  Diego,  Calif., 
who  won  fifth  place  in  the  amateur 
movies  division  of  Sports  AfieUVs  recent 
photographic  contest. 

Flower  close-ups  offer  interesting  cine 
material.  This  shot  is  enlarged  from  a 
tiny  8mm  color  frame  from  "Canoe 
Trails  of  the  Ojibway,"  first  prize  win- 
ning film  in  Sports  Afield's  nationwide 
camera  contest. 


470     American  Cinematographer    •    November,  1938 


yanked  duck.  Follow  through  each  step 
from  the  slitting-  of  the  back  to  the 
plopping  of  the  final  steak  in  hot  grease 
and  the  serving  on  the  table. 

For  a  little  different  effect,  show  a 
couple  anglers  dozing  off  after  a  heavy 
meal.  As  they  dream  about  their  fi.shing 
trip,  fade  in  on  leftover  angling  shots, 
and  fade  out  with  the  setting  sun. 

F'ish  cleaning  isn't  the  only  process 
which  lends  itself  well  to  story  telling 
close-ups.  If  you  camp  out  in  wild  berry 
country,  shoot  the  step-by-step  procedure 
in  making  a  blueberry  or  raspberry  pie. 
First,  the  berries  are  photographed  while 
being  hand-picked.  Here  again  you 
can  use  the  cine  titler  to  portray  the 
mammoth  size  of  the  fruit. 

Blueberry  Juice 

A  close-up  view  of  the  recipe  book  will 
outline  the  crust-making  procedure  in 
full.  Panoram  to  one  side  of  the  book 
where  two  sunburned  hands  are  seen 
mixing  the  dry  ingredients  and  rubbing 
in  shortening.  Then  the  batch  is  spread 
out  on  the  inverted  canoe  bottom  and  a 
rolling-pin  of  peeled  birch  is  used  for 
pancaking  the  dough.  Berries  plus  sugar 
roll  in  for  the  filling  and  the  top  crust 
is  finally  tied. 

Now  change  the  camera  angle,  and 
follow  the  pie  as  it  is  slipped  into  the 
reflector  oven  before  the  campfire.  Fade- 
out  and  fadein  on  the  same  pie  being 
removed  from  the  oven  and  sliced  for  the 


hungry  campers.  Blueberry  juice  running 
down  the  chin  of  one  of  the  fellows  will 
add  a  humorous  touch.  Fadeout  as  the 
dishwasher  daubs  the  tins. 

Clo.se-upping  isn't  limited  just  to 
ducks,  fish,  blueberries  and  early  risers. 

Some  amateurs  have  made  unusual 
close-up  studies  of  plants  and  insects 
without  even  carrying  a  camera  over 
their  fence  lines.  Others  have  discovered 
a  thrilling  camera  sport  in  drawing  up 
a  cine  record  of  all  the  flowers  of  the 
state,  employing  color  film  to  bring  out 
each  little  tint. 

Such  carefully  produced  films  are  obvi- 
ously more  valuable  than  most  haphaz- 
ardly photographed  footage.  They  boost 
the  reputation  of  the  cameraman  and  the 
status  of  all  amateur  cinematographers. 

Travel  filmers  find  that  shooting  a 
close-up  of  an  appropriate  sign  along 
the  way  often  saves  writing  an  explan- 
atory title  and  is  sometimes  extremely 
effective.  Such  signboards  are  popular  in 
most  of  the  national  parks  and  along 
scenic  highways. 

Center  Subject 

In  photographing  them,  do  not  come 
so  close  that  the  entire  sign  fills  the 
finder.  Instead,  step  back  a  short  distance 
and  frame  the  sign  artistically  with  a 
border  of  blue  sky  or  greenery  or  have 
a  member  of  the  party  step  into  the 
scene  and  read  the  sign  for  a  human 
touch. 

In  all  types  of  close-up  work,  be  sure 


that  allowance  is  made  with  the  finder  to 
produce  exact  centering  of  the  subject. 
Most  front  view  finders  are  etched  to 
denote  the  top  of  the  picture  when  the 
camera  is  six  feet  from  the  subject,  or 
perhaps  only  two  feet.  By  ignoring  such 
markings  the  cameraman  unconsciously 
lops  off  the  heads  of  his  otherwise  inno- 
cent friends. 

Clo.se-up  shooting  also  introduces  other 
complications.  Because  of  the  nearness 
of  the  object  to  the  lens,  rock-steady  pic- 
tures are  essential  to  increase  audience 
enjoyment  and  eliminate  eye  strain. 

Movies  resulting  from  hand-held  equip- 
ment are  usually  jerky  and  jittery  when 
projected,  often  the  result  of  motor  vibra- 
tion. A  substantial  tripod  will  solve  the 
problem  neatly.  If  you  must  shoot  in 
cramped  quarters,  rest  the  camera  on  the 
wall,  a  cross  beam,  or  another  steady 
support  before  pulling  the  trigger. 

Lastly,  pin-sharp  focusing  is  most 
necessary.  Do  not  guess  at  short  dis- 
tances, but  measure  them  either  with  a 
reliable  range  finder  or  a  yard-long  tape- 
measure  from  the  sewing  kit.  If  you 
want  to  do  the  job  up  right,  invest  in  a 
reflex  focuser  which  will  enable  you  to 
center  the  scene  accurately  and,  at  the 
same  time,  focus  the  lens. 

However,  do  not  feel  that  you  are  a 
lowbrow  for  using  the  lowly  tape.  Many 
of  Hollywood's  crack  camera  crankers 
still  rely  on  this  medieval  method  of 
metering  off  distances. 


Kodak  Issues  Tkree 
Tripod  Accessories 

THREE  valuable  new  accessories 
either  for  miniature  cameras  or 
larger-size  models  are  announced 
from  Rochester  by  the  Eastman  Kodak 
Company. 

The  Kodak  table  top  tripod  is  an  ideal 
camera  support  for  table-top  photog- 
raphy, still-lifes  and  many  other  indoor 
pictures.  It  is  used  on  any  convenient 
support — table,  chair,  or  floor.  Outdoors, 
the  device  will  prove  useful  in  many  pic- 
ture situations. 

Legs  of  the  Kodak  table  top  tripod  are 
sturdy  and  without  joints.  They  unscrew 
from  the  solid  metal  head,  and  the  out- 
fit can  be  carried  easily  in  a  pocket.  Com- 
pact, the  tripod  has  a  legspread  of  only 
dVz  inches  and  is  7  inches  high.  Eac'i 
leg  is  rubber-tipped,  non-skid,  and  will 
not  scratch  or  mar  polished  surfaces 

The  Kodak  Pan-a-pod  is  a  revolving- 
head,  for  use  on  the  Kodak  table-top  tri- 
pod or  any  other  tripod  with  standard 
screw.  It  insures  a  smooth,  easy  swing  in 
either  direction  when  panoraming  with  a 
still  or  motion-picture  camera.  The  Pan- 
a-pod  carries  degree  markings,  helpful 
in  making  "panorama"  pictures  with  a 
still  camera. 

The  Tilt-a-pod  is  an  adjustable  camera 
support  for  use  on  any  standard  tripod. 
With  it,  a  still  or  movie  camera  can  be 


tilted  to  any  desired  angle,  and  held 
firmly  there  with  a  turn  of  the  locking 
screw.  The  device  is  rigid  when  locked, 
permitting  long  exposures  without  cam- 
era movement. 

These  devices  may  be  used  separately 
or  in  combination.  Prices  are  Kodak 
table  top  tripod,  $1.75;  Kodak  Pan-a-pod, 
$3;  Kodak  Tilt-a-pod,  $2.50;  all  three  in 
combination,  $7. 


Here  is  the  Kodak  table  top  tripod  com- 
bination. The  tripod  provides  a  firm 
camera  support,  the  Pan-a-pod  facilitates 
the  making  of  panoramas,  and  the  Tilt- 
a-pod  allows  control  of  camera  angle, 
still  or  movie. 


New  Brownie  Specials 
Ideal  for  Beginners 

SIMPLE,  capable,  and  ideal  as  first 
cameras  for  beginners,  two  new 
Brownie  Specials,  Six-20  and  Six-16, 
are  announced  from  Rochester  by  the 
Eastman  Kodak  Company. 

Differing  markedly  from  other  inex- 
pensive cameras  both  in  appearance  and 
construction,  these  cameras  are  planned 
for  extreme  sturdiness  combined  with 
greatest  convenience  for  inexperienced 
camera  users. 

The  Brownie  Specials  are  suitable  both 
for  daylight  pictures  and  for  photoflood 
snapshots  at  night  when  loaded  with  the 
new  high-speed  Kodak  Super-XX  Film. 
Prices  are:  Six-20  Brownie  Special,  $4; 
case,  $1.10;  Six-16  Brownie  Special, 
$4.50;  case,  $1.25.  The  Six-20  takes  pic- 
tures 2 1/4x3 1/4 -inches,  and  the  Six-16 
takes  2 1/4  x4 1,4 -inch  pictures. 

▼ 

Herbert  Issues  Guidepost 

Henry  Herbert,  483  Fifth  avenue.  New 
York,  has  issued  the  first  number  of  his 
Guidepost,  a  ten-page  3  by  7%  inch 
booklet  he  is  sending  to  more  than  ten 
thousand  camera  fans  and  which  he 
plans  in  the  interest  of  better  photog- 
raphy to  continue  at  regular  intervals. 
The  publisher  has  invited  manufactur- 
ers and  importers  to  send  him  informa- 
tion on  new  or  recent  additions  to  their 
respective  lines. 


November,  1938    •    American  Cinematographer  471 


IT 

GET 
IN 
YOUR 
BLOOD 


By  Rickard  H,  Lyford 


Scene  in  triple  exposure  from  Richard  H.  Lyford's  amateur 
production    of   "The    Mystery    at    Huxley    Inn,"    third  prize 
winner  for  $100  in   the  Pete  Smith-M.  G.  M.  amateur  movie 
contest.  Producer  in  double  role. 


IT  all  started  when  my  oldest  brother 
Ed  struck  his  head  on  the  corner  of 
the  basement  radiator.  This  not  only 
ended  the  thrilling  duel  between  our 
hero  and  the  villainous  Captain  Hook, 
but  abruptly  ended  my  first  stageplay, 
"Peter  Pan,"  at  the  age  of  seven  years, 
back  in  the  fall  of  1924  in  Seattle. 

The  flame  was  still  flickering  when 
a  second  play,  "Bluebeard,"  kindled  it 
to  a  point  where  I  realized  that  that 
type  of  things  was  what  gave  me  my 
biggest  kick. 

By  1927  I  was  deeply  engrossed  in 
Bram  Stoker's  weird  tale  of  "Dracula." 
Gathering  together  a  small  group  of 
friends  this  thriller  was  staged  in  my 
basement  theatre  and  we  had  for  an 
audience  some  dozen  or  so  people  who 


paid  two  cents  admission — <sat  on  apple 
boxes.  Taking  everything  into  consid- 
eration it  was  a  success,  and  was  re- 
peated again  and  again.  Each  time  more 
lines  were  added,  the  cast  grew  larger, 
the  play  better. 

Two  years  later  the  last  performance 
of  "Dracula,"  played  in  our  grade  school 
auditorium,  had  a  cast  of  fourteen  play- 
ers, accompanied  by  plywood  coffins, 
cardboard  bats  that  flew  with  the  aid  of 
wires,  and  a  gruesome,  blood-curdling 


1027 — the  young  producer  at  the  age  of 
10  years  in  the  roU  of  Count  Dracula. 
Right,  Miss  Barbara  Berger,  who  has 
appeared  as  leading  ivoman  in  four  ama- 
teur pictures  of  the  Seattle  group  as  ivell 
as  briefly  on  the  professional  stage. 


climax  that  caused  my  whole  company 
to  get  expelled  from  school  for  two 
days ! 

Presents  58  Plays 

From  that  time  on  up  to  the  month 
of  May,  1936,  with  a  number  of  changes 
and  replacements  of  the  actors,  fifty- 
eight  stageplays  were  presented,  a  large 
majority  of  them  original. 

Seven  years  ago  I  combined  my  yen 
to  write  and  produce  stage  plays  with 
another  interest — photography.  The  re- 
sult was  my  first  IGmm.  photoplay,  "The 
Phantom  of  Terror,"  which  lasted  only 
eight  minutes,  but  was  successful  enough 
to  encourage  me  to  go  on  into  this  new 
fascinating  field.  My  first  camera  was  an 
Eastman  Model  B  with  a  f3.5  lens.  For 
lighting  equipment   a  friend  presented 


472     American  Cinematographer    •    November,  1938 


me  with  two  "clamp-on"  reflectors. 

My  aim  in  making  photoplays  has  al- 
ways been  to  express  some  philosophical 
idea,  plus  smooth  continuity,  a  story 
with  action,  and,  most  important  of  all, 
a  strong  climax.  The  technical  end  al- 
ways seemed  automatically  to  improve 
itself  as  each  new  picture  was  com- 
pleted. 

On  my  second  film,  "East  of  the  Con- 
go," I  stubbed  my  toe.  The  story  was 
there,  however,  and  it  had  action,  a  cli- 
max, and  would  have  had  fair  con- 
tinuity had  I  not  run  out  of  funds  which 
forced  me  to  slap  on  "The  End"  title 
right  then  and  there  and  let  the  audi- 
ence use   its   own  imagination. 

New  Second-Hand  Camera 
In  September,  1933,  the  third  "epic," 
a  world  war  story,  "The  Sea  Devil," 
was  ready  to  go  into  production  with  a 
new  second  hand  camera  (Eastman  Mod- 
el B  with  fl.9  lens),  which  is  still  my 
faithful  stand-by. 

By  this  time  I  had  quite  a  large,  well 
organized,  enthusiastic  group.  Most  of 
them  have  "stayed  with  the  ship"  right 
through  to  our  latest  undertaking.  These 
associates  are  a  group  of  close  friends 
who  helped  in  the  construction  of  scen- 
ery and  acted  in  various  technical  ca- 
pacities during  the  making  of  a  picture 
— handling  lights,  props,  etc. 

Every  person  whether  they  held  a 
light  or  lashed  a  flat  had  a  part  in  the 
picture.  This  reduced  the  number  of 
those  generally  present  for  the  larger 
scenes  and  made  things  easier  to  handle. 

Don't  Need  "Last  Word"  Cameras 
Now  as  for  photographic  equipment, 
with  the  exception  of  a  few  miniature 
shots  that  have  had  to  be  taken  at  a 
high  speed,  I've  used  my  old  Model  B 
exclusively.  When  I'm  shooting  scenes 
— it's  my  camera.  When  I  want  to  print 
negative  or  make  montage  effects — it's 
my  printer. 

Many  amateurs  think  you've  got  to 
have  the  "last  word"  in  expensive  cam- 
eras to  create  special  efi'ects.  That  is 
not  so.  My  old  Model  B  has  but  one 
speed  forward  (16  frames),  yet  I've 
made  wipes,  dissolves,  double  and  triple 


exposures,  and  with  home-made  mattes 
have  had  a  lot  of  fun  playing  as  many 
as  five  parts  in  the  same  picture  ("In 
Search  of  Adventure"). 

"The  Sea  Devil,"  which  is  feature 
length,  brought  about  a  new  problem — 
sound.  Originally  intended  to  be  all  talk- 
ing, it  ended  up  with  but  three  complete 
scenes  with  spoken  dialogue  but  from 
start  to  finish  it  was  scored  with  music 
and  all  the  sound  effects.  The  sound 
and  dialogue  was  dubbed  in  and  was  on 
records. 

A  dual  turntable  system  with  a  flex- 
ible shaft  attached  to  a  projector  had 
to  be  built.  When  first  starting  this 
film  it  was  really  too  big  an  undertaking 
for  what  little  experience  lay  at  our 
feet.    There  were  many  retakes. 

Still  incomplete  after  two  years  of 
filming  it  was  shelved.  "The  Scalpel,"  an 
800  foot  "horror  thriller,"  was  then 
made.  Curious  to  know  how  it  stood,  I 
sent  it  to  New  York.  Actually  it  placed 
in  the  Amateur  Cinema  League's  Ten 
Best  Contest  in  1936.  This  amazed  me. 

Third  in  Pete  Smith's 

Fired  with  ambition  we  "ground  out" 
two  more — -"Midnight  Adventure"  and 
"The  Mystery  at  Huxley  Inn."  I  en- 
tered the  latter  in  the  Pete  Smith- 
M.G.M.  contest  and  it  hooked  on  to  third 
place  and  brought  home  a  hundred- 
dollar  check. 

"The  Sea  Devil"  was  taken  from  the 
shelf,  dusted  off  and  finally  completed 
(1500  feet).  When  the  first  scene  was 
shot  the  majority  of  the  cast  was  just 
entering  high  school.  When  it  was  ready 
for  the  first  showing  they  were  ready 
to  graduate! 

It  was  rather  a  "patchy"  film — the 
continuity  bad  because  it  just  took  too 
long  to  make.  Seemingly  you  could  see 
the  players  grow  up. 

However,  I  gained  more  information 


The  Oriental  Theater — installed  in  the 
home  of  Richard  Lyford's  parents  in 
Seattle.  Capacity,  4.3  persons.  Record 
crowd,  110.  Arch,  12  feet  wide  and  6V2 
feet  high.  Right,  sound  department,  pro- 
ducer (seated)  scoring  music. 


from  this  one  film  than  from  all  the 
others.  Even  now  I  find  myself  quite 
often  referring  back  to  one  of  its  scenes 
or  shots.  Progress  of  the  future  is  made 
only  by  observation  of  the  failures  in 
the  past. 

Here  are  some  statistics:  Twenty-two 
life  size  sets  and  nine  miniature  sets 
were  built  for  "The  Sea  Devil."  Six 
miniature  submarines  carried  out  to 
minute  detail,  three  destroyers,  four 
convoy  transports,  three  sailing  ves- 
sels, ten  British  SE5  pursuits,  nine  Ger- 
man D7s,  a  German  bomber,  an  Ameri- 
can convoy  station  and  a  French  village 
made  up  the  bulk  of  the  miniature  work. 

Uses  Young  Navy 

Twenty-five  uniforms  were  used — 
most  of  them  home  made.  We  filmed 
scenes  on  board  eleven  different  ocean- 
going boats  ranging  from  obsolete  naval 
destroyers  to  huge  wooden  square-rig- 
gers. There  are  approximately  one  hun- 
dred persons  in  the  cast. 

To  date  our  two  more  recent  photo- 
plays— "Ritual  of  the  Dead,"  a  "talkie," 
and  "As  the  Earth  Turns,"  a  feature- 
length  prediction  of  the  next  world  war, 
in  sound,  totally  eclipse  all  our  past 
efforts  thrown  together. 

"Ritual  of  the  Dead,"  a  mystery  story 
with  some  extremely  gruesome  se- 
quences, carries  a  strong  message.  It 
conveys  the  idea  that  friends  are  man's 
most  important  possessions.  A  man  mur- 
ders his  brother  because  of  greed  and 
envy — then  discovers  he  was  the  only 
friend  he  ever  had  and  realizes  how 
helpless  he  is  alone  in  the  world. 

At  the  opening  night  of  "Ritual"  sev- 
eral members  of  the  audience  remarked: 
"My  God!  It's  horrible!  Chopping  a 
man  to  pieces  with  an  axe!  An  Egyptian 
mummy  walking  the  streets  of  Lon- 
don ...  It  doesn't  make  sense.  This 
guy  Lyford  must  be  a  bit  'nutty'." 

Unfortunately  they  missed  the  point. 
As  for  being  "nutty" — well,  I  guess  you 
have  to  be  if  you  want  to  go  in  for 
cinematography. 

Make-up  is  another  extremely  inter- 
esting phase  of  movie  work.  I  always 
first  make  sketches  of  all  the  players, 


November,  1938    •    American  Cinematographer  473 


then  figure  out  each  one's  individual 
character  by  drawing  in  beards  and 
using  different  colored  pencils  for  each 
shade  of  grease  paint.  In  some  of  the 
scenes  "hammy"  beards  and  high  school 
students  trying  to  look  fifty  years  old 
have  caused  a  good  deal  of  criticism. 

Crowded  Afternoon 

But  just  imagine  having  fifteen  peo- 
ple waiting  in  line  for  beards,  sideburns, 
putty  noses  and  gray  hair  for  a  nine- 
teenth century  costume  story  and  then 
face  two  typewritten  pages  of  all  the 
shots  to  be  completed  that  afternoon. 
I  never  did  have  time  to  do  the  make-up 
as  I  desired  it  done. 

As  for  the  dramatic  end  I  could  al- 
ways depend  upon  two  such  "veterans" 
as  Barbara  Berger  and  Al  Hoelting 
to  turn  in  a  brilliant,  smooth  perform- 
ance. The  rest  of  the  players,  not  hav- 
ing had  as  much  experience,  do  surpris- 
ingly well. 

The  fellows  on  the  technical  staff 
were  Edwin  Frost,  Eystein  Berger,  Rod 
Bassett,  Jim  Leipper,  Burton  Dinius, 
Al  Clake,  Ed  Powell,  Bob  Dishman, 
Bruce  Mattson,  Vinton  Birch  and  Brooks 
Stevens — as  grand  a  bunch  of  friends  as 
one  could  ever  expect  to  have. 

One  Advantage 

The  one  advantage  I  have  over  all 
other  young  "movie  bugs"  is  a  father 
and  mother  whose  patience,  interest,  as- 
sistance and  co-operation  in  permitting 
my  going  ahead  with  the  type  of  work  I 
happened  to  be  terrifically  enthusiastic 
about  is  something  I'll  never  forget. 

At  one  time  we  stripped  our  living 
room  clean — rebuilt  it  into  a  1897  inn 
with  a  bar  at  one  end,  and  stairway  at 
the  other.  The  upstairs  hallway  has  been 
a  medical  institute,  the  dining  room  a 
chemical  laboratory,  the  sunroom  a  wire- 
less station,  the  ironing  room  an  Egyp- 
tian tomb. 

The  basement  was  "surrendered"  to 
me  simply  because  no  one  else  could 
get  down  to  it!  It  had  a  theatre,  with 
slanting  floor;  forty-three  opera  seats, 
stage,  footlights,  borderlights,  two  sets 
of  curtains,  and  back  stage  dressing 
rooms. 

It  had  a  printing  shop  with  a  five- 
hundred-pound  job  press,  a  work  shop 
for  building  sets  and  miniatures,  pro- 
jection booth,  which  also  housed  the 
family  car.  The  furnace  was  permitted 
to  stay  in  my  dark  room.  There  was 
just  enough  space  left  for  me  to  paint 
posters  and  letter  all  my  titles  out  in 
the  "lobby." 

No,  They  Don't 

My  mother  has  spent  many  a  day 
sewing  on  brass  buttons,  gold  braid  and 
repairing  costumes.  After  a  big  night's 
shooting  there  has  always  been  a  huge 
hot  pudding  and  plenty  of  coffee  for  all 
the  cast  and  associates.  Parents  like 
that  just  don't  grow  on  trees! 

Many  inquisitive  friends  have  asked 
such  questions  as:  "How  did  you  find 
time  to  do  all  this?  Who  financed  you?" 

I  saved  every  possible  penny  from 
various  jobs  such  as  working  in  a  ga- 
rage,   doing    photographic    layout  ads 


for  the  American  Lumberman  magazine, 
working  for  a  decorating  company,  let- 
tering for  a  sign  outfit,  doing  theatre 
display  work,  photographing  weddings 
and  coloring  ownership  maps  for  a  log- 
ging company. 

Just  for  Roll  of  Film 

Setting  type  for  circulars  in  my  base- 
ment print  shop  and  painting  signs  for 
neighborhood  barber  shops  usually  meant 
an  extra  roll  of  film. 

In  grade  and  high  school  there  was 
plenty  of  time  for  my  activities  on  week 
ends.  At  the  University  of  Washington, 
however,  it  was  different.  I  would  work 
a  couple  of  months,  then  go  to  school 
two  quarters  and  sandwich  a  movie  in 
between. 

When  it  comes  to  one's  interest  in 
photography — all  ages  seem  to  get  to- 


gether and  one  photo-bug  is  just  as 
goofie  as  the  other. 

My  home  now  being  in  Los  Angeles, 
I  recently  received  a  clipping  from  a 
Seattle  newspaper  concerning  Herb 
Crisler,  a  very  good  friend  of  mine  and 
an  outstanding  master  of  16mm.  color 
photography.  Going  up  in  the  Olympic 
Mountains  to  shoot  a  wild-life  picture 
unfortunately  he  fell  down  a  fifty  foot 
cliff — broke  his  arm,  dislocated  a  half 
dozen  fingers  and  sprained  his  ankle. 

Resetting  his  own  arm,  he  rested  by 
his  campfire  for  two  days — then  packed 
up  his  equipment,  continued  to  climb 
mountains  and  finished  his  picture! 

So  you  see,  it  gets  you!  You  can't 
get  away  from  it  and  I  know  that  as 
long  as  I  have  greasepaint  behind  my 
ears  and  developer  stain  on  my  best 
shirt  I'll  live  a  happier  life. 


UNSELD  NOW  ASSISTANT 
TO  B.  &  H/s  AD  CHIEFTAIN 


ROBERT  H.  UNSELD,  a  former 
American  vice  consul  in  Surabaya, 
Java,  has  been  appointed  assistant 
advertising  manager  of  Bell  &  Howell. 
After  being  graduated  from  the  Uni- 
versity of  Chicago  Mr.  Unseld  went  to 
the  Bank  of  Hawaii,  Honolulu,  where  he 


remained  four  years.  He  then  became 
seized  with  a  yen  for  world  travel 
linked  with  amateur  photography  and 
traveled  on  foot  through  China,  Austra- 
lia and  New  Zealand  taking  candid 
movies  of  the  natives. 

Bali,  Bomeo  and  Cambodia  next  of- 
fered their  irresistible  picture  lures.  Un- 
seld was  in  Bali  when  the  original  silent 
movie  version  of  "Goona  Goona"  was 
made.  He  wrote  the  sub-titles.  He 
joined  an  expedition  into  the  heart  of 
Borneo.  He  hid  behind  the  Royal  Temple 
of  Pnom  Penh  (pronounced  Pnom  Penh) 
to  film  the  camera-shy  King  of  Cambo- 
dia as  he  emerged  in  full  parade. 

Four  years  ago  Mr.  Unseld  joined  the 
Bell  &  Howell  Company,  where  his  flair 
for  amateur  moviemaking  fitted  right 
"into  the  picture," 

In  his  new  position  as  assistant  adver- 
tising manager  Mr.  Unseld  will  assume 
supervision  of  various  special  activities 
of  the  ad-'-ertising  department.  He  also 
will  continue  as  associate  editor  of 
Filmo  Topics  and  Selling  Filmo. 


Camera  Gift  Catalog 

Of  particular  interest  to  camera  en- 
thusiasts, and  to  those  whose  Christmas 
and  birthday  lists  include  camera  fans, 
is  a  new  gift  catalog  just  issued  by 
Wholesale  Radio  Service  Co.,  Inc.,  100 
Sixth  Avenue,  New  York.  Nearly  half 
of  its  sixty-four  pages  are  devoted  to 
listing  and  illustrating  an  unusually 
comprehensive  array  of  cameras,  acces- 
sories and  photographic  supplies  with 
special  attention  to  the  newest  pi'oducts 
in  this  field. 


Robert  H.  Unseld,  Bell  &  Howell 
assistant  advertising  manager 


There  are  78  motion  picture  theaters 
in  Montevideo  with  45,000  seats.  All  the 
theaters  are  wired  for  sound.  The  aver- 
age admission  price  for  first-run  theaters 
is  about  40  cents  in  American  money, 
and  15  cents  for  second-class  theaters, 
according  to  the  report. 


474      AMERICAN  CiNEMATOGRAPHER    •    November,  1938 


SYSTEMATIC 
EDITING  OF 
MOVIE  FILM 
FOR  THE 
AMATEUR 

BY  JULIAN  F.  SCHMIDT 

Green  Bay^,  Wis, 


THE  film  editing'  system  described 
and  illustrated  in  the  acx-ompany- 
ing-  article  is  one  which  will  prove 
a  great  time  saver  as  well  as  a  conven- 
ient and  systematic  method  of  assem- 
bling home  movie  shots  into  sequences 
that  will  make  them  far  more  interesting 
and  enjoyable  to  future  audiences,  as 
well  as  bring  greater  satisfaction  to  the 
maker.  The  necessary  equipment  used 
in  this  system  easily  can  be  duplicated 
by  any  amateur  home  movie  enthusiast, 
and  at  very  small  cost. 

First,  secure  a  half  gross  of  small 
2%-inch  square  by  ■% -inch  deep  enameled 
telescope  pill  boxes,  such  as  commonly 
used  by  druggists  for  pills,  etc.  Your 
local  druggist  can  order  these  for  you 
and  they  will  cost  about  a  dollar.  The 
ones  used  by  the  writer  were  described 
as  follows: 

2% -inch  square  pill  boxes,  %-inch 
deep  5th  Square,  Telescope,  Asst. 
Enamel,  No  Edge,  Stock  Number 
05, 

and  are  manufactured  by  Pictorial  Paper 
Package  Corporation  of  Aurora,  111. 

When  you  have  obtained  these  boxes 
separate  the  covers  or  top  sections  from 
the  bottoms,  and  place  them  in  separate 
piles.  You  will  have  enough  bottom  and 
top  sections  from  these  pill  boxes  to 
make  two  editing  racks  sufficiently  large 
to  hold  70  boxes  each,  providing  a  total 
of  140  compartments  in  the  two  com- 
pleted racks. 

Overall  Measurement 

Now  take  seven  of  the  bottom  sections 
of  the  pill  boxes,  place  them  side  by  side 
in  a  row,  and  determine  the  overall 
measurement  across  the  seven  boxes. 
This  will  be  approximately  14%  inches. 
To  this  add  one  half  the  width  of  one 
of  the  boxes  (about  1  inch),  which, 
added  to  the  previous  figure,  will  give 
you  a  total  length  of  15%  inches.  This 
will  be  the  inside  horizontal  length  of 
each  section  of  the  first  complete  editing 
rack. 

The  second  rack,  in  which  will  be 
used  the  top  sections  of  the  pill  boxes, 
should  be  made  a  trifle  longer,  horizon- 
tally (about  Win  inch),  than  the  first, 
due  to  the  fact  that  the  tops  of  the  pill 
boxes  are  slightly  larger  than  the  bot- 
toms. 

The  same  procedure  should  be  fol- 
lowed as  was  previously  described  above 
in  regard  to  placing  seven  of  the  top 
sections  of  the  pill  boxes  side  by  side  and 
taking  the  overall  measurement;  then 
adding  one  half  the  width  of  one  of  the 
top  sections. 

This  will  give  you  the  inside  horizontal 
length  of  each  section  of  the  second 
editing  rack  (which  will  be  found  to  be 
about  16-yKj  inches). 

The  vertical  height  or  space  between 
each  shelf  in  both  editing  racks  should 
be  about  2  "^r,  inches. 

Material  Needed 

The  racks  are  built  in  two  sections 
and  hinged  together  in  the  middle,  so 
that  when  closed  up  like  a  hook  the  open 
sides  of  both  sections  of  the  rack  are 


closed  face  to  face  and  the  coils  of  film 
which  will  be  placed  in  the  small  boxes 
are  thus  protected  from  dust  and  dirt 
and  possible  damage  while  stored  away 
between  editing  sessions. 

To  construct  the  two  complete  racks, 
each  providing  for  70  compartments  of 
film  coils,  you  will  require  the  follow- 
ing material,  which  can  be  purchased 
f I'om  a  planing  mill : 

About  50  lineal  feet  of  white  pine 
strips  %-inch  thick  by  %-inch 
wide. 

You  will  also  require  four  thin  ply- 
wood panels  of  about  %-inch  or  Mo-inch 
thickness  and  about  14  inches  by  17 
inches  in  size  to  cover  the  two  sides  of 
each  completed  editing  rack.  You  will 
also  need  a  small  box  of  wire  brads  in 
length  about  %  inches. 

In  addition  to  the  above  you  will  need: 
1  piece  of  white  pine  %  by  1  by  48 
inches  from  which  to  saw  out  20  blocks 
in  size  %  by  1  by  2%  inches  in  length. 

If  you  have  access  to  a  good  mitre 
box  this  will  greatly  simplify  the  cutting 
of  strips  to  proper  and  uniform  lengths, 
preparatory  to  assembling  the  racks. 
Cut  the  following  lengths  from  the  % 
by  %  pine  strips: 

4  Pieces  13  Wir,  inches  long 
12  Pieces  15%     inches  long 

For  the  smaller  rack,  to  be  used  with 
the  bottom  sections  of  the  pill  boxes. 
4  Pieces  13  Wig  inches  long 
12  Pieces  16  •'Hg    inches  long 


For  the  larger  rack,  to  be  used  with 
the  top  sections  of  the  pill  boxes. 

It  is  a  simple  matter,  then,  to  assemble 
the  strips  and  panels  to  make  up  the 
racks,  as  indicated  in  the  accompanying 
illustrations,  using  the  %-inch  brads  for 
nailing  together. 

Two  Separate  Racks 

When  assembled  this  will  give  you 
two  separate  editing  racks  consisting  of 
two  sections  each,  hinged  in  the  middle, 
each  complete  rack  having  sufficient 
space  for  70  small  pill  boxes,  to  hold  that 
number  of  coils  of  film,  or  a  total  capac- 
ity of  140  compartments. 

One  of  the  small  wooden  blocks  in 
size  %  by  1  by  2%  inches  previously 
mentioned  should  be  placed  in  the  right 
hand  end  of  each  shelf  in  both  the  sec- 
tions of  the  editing  racks.  It  will  then 
be  found  that  when  folding  up  the  two 
sections  of  the  racks,  the  small  pill  boxes 
will  be  in  a  position  so  that  they  will 
overlap  each  other  about  one-half  their 
width,  the  purpose  of  this  being  to  keep 
the  coils  of  film  from  tipping  from  their 
respective  compartments,  into  the  oppo- 
site compartment,  when  the  racks  are 
folded  up  and  stored  away  between 
editing  sessions. 

These  small  wood  blocks  can  be  re- 
moved, for  convenience,  while  editing 
or  when  rearranging  or  transposing  the 
boxes  containing  the  coils  of  film  to 
secui'e  the  pi'oper  continuity  sequence 
order. 

Before  beginning  to  edit  your  films  it 


November,  1938    •    American  Cinematographer  475 


is  a  good  plan  once  or  twice  to  project 
the  reel  about  to  be  worked  over,  so  that 
you  will  become  thoroughly  familiar 
with  the  different  scenes  and  be  able 
quickly  to  recognize  them  when  run 
through  the  viewer.  Then,  by  running 
through  a  good  rewind  and  viewer,  the 
film  can  be  quickly  cut  up  into  scenes, 
wound  up  into  coils  and  placed  in  the 
pill  box  compartments. 

Tabs  on  Each  Scene 

A  small  pad  of  paper  squares  in  size 
1%  X  1%  inches  should  be  available,  on 
which  can  be  written  a  brief  description 
of  the  scene.  This  square  of  paper  is 
then  placed  in  the  bottom  of  the  pill  box 
compartment  and  the  coil  of  film  con- 
taining that  scene  (or  sequence)  is  then 
dropped  in  the  box,  over  the  slip  con- 
taining the  description. 

For  winding  the  film  scenes  into  coils, 
you  will  need  a  small  rewind.  I  found 
the  Craig  Junior  rewind  vei-y  satisfac- 
tory for  this  purpose.  From  my  wife's 
sewing  cabinet  I  secured  a  large  empty 
wooden  spool,  sawed  this  into  two  sec- 
tions and  slipped  one  of  these  over  the 
spindle  of  the  rewind. 

The  hole  in  the  center  of  the  spool 
exactly  fits  over  the  Craig  Junior  rewind 
spindle,  without  any  further  alterations. 
Then  with  a  knife  cut  a  small  slot  in  the 
spool  in  which  to  insert  the  end  of  the 
film. 

By  turning  the  rewind  handle  the  film 
can  be  rapidly  wound  up  into  a  coil.  By 
then  giving  a  slight  backward  turn  on 
the  handle  the  coil  can  easily  be  removed 
from  the  spool  and  placed  in  one  of  the 


small  pill  box  compartments  in  the  rack. 
It  may  be  found  that  several  scenes 
may  have  been  photographed  in  their 
logical  sequence  and  that  such  footage 
may  be  left  in  the  order  in  which  it 
came  from  the  processing  station. 

In  such  cases,  if  the  footage  totals 
more  than  15  to  20  feet,  it  may  be  found 
more  convenient  to  wind  such  sequences 
on  one  of  the  small  50-foot  (8mm.)  or 
100-foot  (16mm.)  reels,  attaching  to  the 
reel  with  a  piece  of  adhesive  or  scotch 
tape  a  slip  of  paper  containing  a  brief 
description  of  the  shots  or  sequences, 
also  assigning  a  number  to  the  reel, 
which  should  be  plainly  marked  thereon. 

Duplicate  Description 

Then  write  a  duplicate  description 
on  one  of  the  small  squares  of  paper, 
mark  this  slip  with  the  same  number  as 
that  on  the  reel  in  question  and  place  in 
one  of  the  small  pill  boxes,  dropping  a 
small  coil  of  the  transparent  or  white 
leader  over  the  slip  to  hold  it  in  place. 

In  the  final  process  of  splicing,  when 
you  come  to  this  box,  you  can  see  at  a 
glance  the  number  of  the  reel  which  is 
described  on  the  small  slip  and  it  is  then 
an  easy  matter  to  locate  the  small  reel 
with  the  corresponding  number  and 
splice  this  in  its  proper  order. 

When  all  of  the  film  to  be  edited  has 
been  cut  up  into  sections  it  is  then  a 
simple  matter  to  rearrange  and  trans- 
pose the  small  pill  box  compartments 
containing  coils  of  film  into  the  proper 
and  logical  sequence  order,  beginning  at 
the  upper  left  hand  corner  of  the  left 
hand  section  of  the  rack  and  continuing 


across,  then  to  the  shelf  below,  from  left 
to  right,  etc.,  continuing  until  all  shots 
have  been  rearranged  to  form  a  con- 
nected story  or  sequence. 

Before  splicing  the  film  sequences  to- 
gether, it  is  now  an  excellent  time  to 
have  the  necessary  titles  prepared  and 
these  should  then  be  placed  in  pill  boxes 
and  inserted  in  their  proper  places  be- 
fort  the  final  splicing  is  done,  thus  elim- 
inating waste  of  time  and  film  necessary 
if  the  titles  were  to  be  inserted  later. 

Then  Comes  Splicing 

When  all  of  the  boxes  containing  the 
respective  scenes  and  titles  have  been 
arranged  in  final  sequence  order,  it  is 
then  a  simple  mechanical  operation  to 
splice  the  coils  of  film  together  on  the 
larger  200  foot  (8mm.)  or  400  foot 
(16mm.)  reels,  ready  for  projection. 

This  system,  by  the  way,  can  be  used 
with  equal  eflFectiveness  for  editing  either 
8mm.  or  16mm.  films.  It  will  save  many 
hours  of  labor,  will  keep  your  films  clean 
and  in  perfect  condition,  and  prevent 
accidental  damage  while  editing,  even 
though  several  weeks  or  months  may 
elapse  between  editing  sessions. 

It  provides  a  systematic  method  of 
rearranging  your  films  into  proper  se- 
quence order,  and  its  greatest  advantage 
is  that  you  can  work  at  your  editing 
whenever  a  few  moments  are  available 
and  you  can  stop  whenever  you  wish, 
as  it  takes  but  a  moment  to  close  the 
racks  and  store  them  away. 

When  ready  to  resume  work  you  can 
continue  right  where  you  left  off  with 
no  loss  of  time. 


EnD  View 


View   op-  Rack  Ope^t 


470     American  Cinematographer    •    November,  1938 


RAISING 
TILL. 
FROM 
16MM, 
FRAME 


\j  Albert  N,  Mueller,  M,D< 
Rock  Island,  IlL 


MAKING  enlargements  (stills)  of  movie  frames  from 
35mm.  16mm.  and  8mm.,  film  has  been  done  for  a 
number  of  years,  and  in  several  w^ays.  Camera  man- 
ufacturers use  a  specially  built  camera  that  enlarges  the 
frame  to  negatives  of  a  print  size  3  by  4  inches,  for  16mm. 
movie  amateurs. 

The  frame  is  not  cut  from  the  reel  when  sent  in  for  en- 
larging but  identified  by  tying  a  white  thread  through  the 
adjacent  sprocket  openings. 

The  second  method  is  to  use  the  home  movie  projector, 
running  off  the  reel  in  the  dark,  then  stop  the  projector  and 
use  the  still  mechanism  to  select  the  proper  frame  for  en- 
larging and  size  desired,  according  to  the  view  projected. 

Dealers  have  a  special  projection  paper  for  making  paper 
negatives,  usually  a  bromide.  A  sheet  of  this  paper  is 
placed  in  a  printing  frame,  in  the  dark,  and  fastened  to  the 
wall  in  the  same  spot  that  the  still  frame  was  projected. 

The  time  needed  for  exposure  must  be  learned  by  expe- 
rience, and  varies  according  to  the  paper  used,  amount  of 
light  from  the  still  frame  and  the  film  density. 

Of  course  it  is  not  good  policy  to  use  the  still  projection 
too  long,  as  the  lamp  is  only  partially  dimmed  and  the  heat 
will  cause  a  blister  to  form  on  the  film  or  otherwise  damage 
it. 

Trial  and  Error 

This  paper  negative  then  is  developed,  and,  being  trans- 
parent, contact  prints  can  be  made.  Such  prints  are  not 
as  sharp  as  the  original  frame  because  less  light  is  used 
and  focusing  is  not  perfect.  Material  and  much  time  will  be 
wasted  in  this  trial  and  error  method,  which  makes  it 
unpopular. 

However,  lately  there  has  been  made  available  to  the  ama- 
teur a  third  and  simple  device  for  making  frame  enlarge- 
ments from  8mm.  and  16mm.  movie  films.  A  special  Kodak 
is  used,  taking  616  film  (2 1/2  by  4%  inches)  eight  exposures. 


Enlargements  from  10mm.  film,  reading  from  top:  1,  Six 
months  old;  2,  party  at  second  birthday;  "Contentment," 
New  Orleans;  bottom,  bob  Burns  being  greeted  by  the  smiling 
mayor  and  citizens  of  Dallas.  Photographed  by  Dr.  Mueller. 


November,  1938    •    American  Cinematographer  477 


Here  also  the  movie  film  is  not  cut 
or  damaged  in  any  way.  Frames  are 
selected  by  using  a  regular  rewinder 
and  viewer,  or  a  magnifying  glass.  A 
minimum  of  two  frames  is  needed;  thus 
one  can  use  good  scenes  that  otherwise 
are  too  short  to  project. 

The  frame  to  be  used  is  placed  in  the 
kodak,  behind  a  small  ground  glass  win- 
dow, being  held  in  place  by  a  sprocket 
opening  in  the  locating  pin.  With  the 
kodak  loaded  with  super  pan  film,  it  is 
now  held  about  five  inches  away  from  a 
photo  flood  in  an  ordinai-y  lamp  socket. 

Kodachrome  Stands  Out 
Time  exposures  are  used,  varying  from 
four  seconds  to  nearly  ten,  the  density  of 
the  scene  being  a  guide.  Usually  black 
and  white  film  takes  less  time  than 
Kodachrome,  but  is  also  more  grainy. 
Kodachrome  makes  the  most  satisfactory 
and  beautiful  prints  that  stand  up  per- 
fectly under  projection  enlargements,  re- 
gardless of  size  desired. 


There  is  no  silver  or  grain  left  in 
Kodachrome  after  its  processing,  only 
the  dye  to  be  photographed.  Two  frames 
will  be  photographed,  side  by  side,  when 
8mm.  movies  are  used  in  the  Kodak  en- 
larger.  One  should  select  frames  that 
are  clear,  in  proper  focus,  and  of  course 
clean,  free  from  oil  spots  or  finger 
marks. 

The  resulting  negative  after  develop- 
ing in  the  usual  manner,  will  make  ideal 
projection  prints  any  size  desired,  black 
and  white,  sepia,  etc.  Thus  one's  movie 
camera  has  a  new  and  double  purpose, 
movies  as  well  as  "stills,"  with  many 
hundreds  of  scenes  for  selection,  and 
action  shots  that  equal  the  best  of  any 
still  camera. 

The  entire  method  outlined,  including 
kodak  and  materials  are  reasonably 
priced  and  use  easily  mastered,  thus 
doing  away  with  the  necessity  of  carry- 
ing two  cameras,  still  and  movie  usually 
so  burdensome  to  the  amateur. 


AGFA  ANNOUNCES  TWO 
TRIPODS  FOR  AMATEUR 


THE  Agfa  PD16  Clipper  Special 
camera,  entii-ely  new  with  a  mod- 
ern design  similar  to  that  of  the 
popular  Agfa  Clipper  introduced  ear- 
lier this  year,  has  just  been  released 
and  is  now  being  shown  by  photo- 
graphic dealers.  A  compact  and  versa- 
tile instrument,  this  current  addition 
to  the  Agfa  line  provides  a  variety  of 
outstanding  features  that  will  appeal 
to  everyone  for  whom  photography  is 
a  serious  hobby. 

The  new  Clipper  Special  is  fitted  with 
a  fully  corrected  focusing  f6.3  anastig- 
mat  lens  and  a  shutter  giving  l/25th 


to  1/lOOth  second  exposures,  as  well  as 
bulb  and  time.  The  Clipper  gives  fif- 
teen 2%  by  2  1/16  inch  pictures  on  a 
roll  of  PD16  film  (same  size  as  616), 
an  economical  point  that  many  photog- 
raphers will  value. 

A  telescoping,  metal,  pull-out  front 
makes  the  camera  instantly  ready  for 
use,  and  when  in  closed  position  reveals 
the  camera's  smooth,  trim  lines  and 
compact  design.  This  new  type  of  con- 
struction does  away  completely  with  the 
necessity  for  bellows  and  is  conse- 
quently "light  leak-proof." 

The  Clipper  is  solidly  built  with  a 


Agfa's  PD16  Clipper  Special  Camera,  f:6.3  anastigmat  lens 


pressed-steel  frame  and  is  smartly  fin- 
ished with  a  black-grained,  waterproof 
covering  and  exposed  metal  parts  fin- 
ished in  polished  metal  and  black  lac- 
quer. 

Other  specifications  include  an  optical, 
direct-view  finder,  tripod  socket,  a  con- 
venient depth  of  focus  scale,  hinged 
back  and  easy  loading  arrangements, 
and  special  eyelets  for  attaching  a  neck- 
strap.  The  f6.3  Clipper  Special  is  made 
by  Agfa  Ansco  Corporation  in  Bing- 
hampton,  N.Y.,  and  retails  at  $17.25. 


SuLper^XX  Now  Ready 
in  Rolls  and  Packs 

FOUR  times  as  fast  as  ordinary 
films,  and  heretofore  available  only 
for  miniature  cameras,  Kodak 
Super-XX  Film  is  now  obtainable  in  all 
the  popular  rollfilm  sizes  and  in  film 
packs,  the  Eastman  Kodak  Company  an- 
nounces. 

So  sensitive  is  this  new  film  that  an 
inexpensive  box  camera,  loaded  with  it, 
is  about  equivalent  in  speed  to  a  camera 
with  f.6.3  lens  when  loaded  with  ordi- 
nary film.  Similarly,  the  f.6.3  camera, 
loaded  with  Super-XX,  has  a  speed  which 
approximates  that  of  a  camera  equipped 
with  f.3.5  lens  when  ordinary  film  is 
used. 

This  speed  advance  means  that  inex- 
pensive cameras  can  now  obtain  excel- 
lent pictures  under  adverse  light  condi- 
tions, and  cameras  with  moderately  rapid 
anastigmat  lenses  can  take  snapshots 
under  conditions  that  heretofore  have 
demanded  high-speed  lenses.  Photoflood 
snapshots  at  night  and  outdoor  snap- 
shots on  bad  days  with  inexpensive  cam- 
eras will  show  marked  gain  in  quality. 

Intended  for  the  shortest  possible  ex- 
posures and  for  use  under  adverse  light- 
ing conditions,  Kodak  Super-XX  is  espe- 
cially adapted  for  picturetaking  by  arti- 
ficial light.  Almost  any  camera  loaded 
with  it  can  take  indoor  snapshots  by  the 
light  of  only  two  Photofloods — one  No.  2 
and  a  small  sized  No.  1 — placed  as  speci- 
fied in  the  Kodak  Snapshots  at  Night  in- 
struction folder. 

While  Kodak  Super-XX  film  is  four 
times  as  fast  as  ordinary  film,  it 
is  fine  in  grain,  and  will  yield  ex- 
cellent enlargements.  It  is  twice  as 
fast  as  Kodak  super  sensitive  pan- 
chromatic film,  but  the  grain  is  no 
larger.  In  addition,  Kodak  Super-XX  is 
fully  panchromatic,  made  with  a  non- 
halation  backing,  and  yields  prints  that 
are  beautifully  balanced  black  and  white 
renditions  of  colored  subjects. 


Craig  Names  New  Prices 

The  Craig-  Movie  Supply  Company, 
Inc.,  with  stores  in  Los  Angeles  and  San 
Francisco,  announces  new  low  prices  for 
its  Craig  Junior  8mm. -16mm.  splicer. 
Complete  with  cement  and  water  con- 
tainer, the  new  price  is  $2.50.  The  Craig 
Junior  8mm. -16mm.  Combination  is  list- 
ed at  $7.25. 


478      American  Cinematographer    •    November,  1938 


Giving  lA^ings  to  Camera: 


(Continued  from  Page  U(Hi) 


day,  so  bright  and  early  that  morning 
I  appeared  with  my  camera  on  the  Fox 
back  lot,  which  had  been  transformed 
into  a  twenty  acre  desert. 

My  friend  Pev  Morley,  the  head  cam- 
eraman, saw  me  and  asked  what  I 
thought  I  was  going  to  do.  When  I 
told  him  I'd  like  to  get  some  pictures  of 
the  storm,  he  said  it  would  be  impossible, 
because  the  sand  would  ruin  my  camera. 
The  movie  cameras  were  housed  in  sheet 
metal  houses  with  transparent  glass 
fronts,  but  there  wasn't  any  extra  room 
in  any  of  them.  I  argued  with  him, 
I  begged  to  be  allowed  to  take  some  pic- 
tures. Finally  he  broke  down  and  told 
me  I  might  go  in  one  of  the  camera 
houses  for  the  first  half  hour.  By  that 
time  things  had  begun  to  happen.  The 
actors  had  arrived,  and  shooting  was 
about  to  begin. 

Sound:  Sneak  wind  in  background 
and  build  it  up. 

Bromberg:  There  were  special  oil 
burners  which  were  giving  off  black 
clouds  of  smoke  that  drifted  over  the 
desert  and  almost  blotted  out  the  sun. 
The  wind  added  its  mournful  wail  to 
the  darkening  scene  as  we  hurried  inside 
the  camera  house  and  closed  the  door 
behind  us. 

Sound:  Opening  and  closing  large 
metal  door  .  .  .  wind  lower. 

Bromberg:  The  wind  was  rising,  and 
the  few  prop  men  who  were  visible  wore 
goggles  and  masks  to  protect  themselves. 
It  was  almost  like  a  gas  attack  during 
a  tornado.  Then  the  signal  was  given 
for  the  action  to  start.  Tyrone  Power, 
who  plays  Ferdinand  de  Lesseps,  and 
had  been  in  one  of  the  tents  almost  in 
front  of  our  camera,  pushed  through 
the  flaps  and  cut  into  the  open.  I  un- 
slung  my  own  camera  and  sighted  for 
a  picture.  Tyrone  started  to  run  toward 
Annabella,  who  is  the  young  native  girl 
Toni,  and  who  was  clinging  to  one  of 
the  huge  water  tanks.  Just  as  he  reached 
her  and  the  two  of  them  started  for 
shelter,  the  wind  machines  were  turned 
on  full  force.  I  give  you  my  word,  that 
wind  pushed  the  two  of  them  completely 
over,  as  if  they  had  been  the  flimsiest 
of  toys.  I  snapped  the  shutter  just  as 
they  fell,  and  got  a  beautiful  picture. 
They  picked  themselves  up  and  stumbled 
on  before  the  director  ordered  a  cut  in 
the  scene  .  .  . 

Sound:    Wind  out. 

Bromberg:  .  .  .1  had  my  picture  all 
right,  but  you  can  imagine  how  enthu- 
siastic I  was  when  it  came  time  for  me 
to  work  in  that  simoon. 

• 

In  the  concluding  words  of  his  talk 
Maurie  Webster  announced  that  on  the 
evening  of  October  31  announcement 
will  be  made  of  a  photographic  contest 
in  which  $250  will  be  given  in  prizes. 
• 

Among  tho.se  present  at  the  broadcast 


October  24  was  Richard  F.  Oden,  presi- 
dent of  La  Casa  Movie  Makers  of 
Southern  California  and  also  of  the 
Miniature  Camera  Club  of  San  Gabriel 
Valley. 

The  two  clubs  are  members  of  the 
band  of  six  clubs  in  the  council  that  has 
been  fonned  and  of  which  incidentally 
their  president  is  head.  Other  clubs  in 
the  same  council  are  Pasadena  Movie 
Club,  South  Pasadena  Camera  Club, 
Alhambra  Photo  Club  and  Eightcrafters 
of  South  Pasadena. 

The  council  as  one  of  its  features  fur- 
nishes speakers  for  programs  as  well  as 
judges  and  critics  in  contests.  Every 
couple  of  months  the  presidents  of  the 
respective  clubs  gather  in  conference. 

The  editor  of  this  magazine  with  Wil- 
liam Stull,  A.S.C.,  Robert  Teorey  and 


THE  National  Conference  on  Visual 
Education  and  Film  Exhibition 
(DeVry  Foundation)  and  Year 
Book  of  Visual  Education,  just  published, 
thoroughly  covers  the  proceedings  of  the 
meetings  in  Chicago  last  June.  There 
are  128  pages,  divided  into  two  parts, 
with  49  titles  in  the  first  and  13  in  the 
second.  A.  P.  Hollis  of  the  DeVry  staff 
is  the  editor. 

The  present  is  the  first  formal  pub- 
lication of  the  proceedings,  which  are 
an  outgrowth  of  the  DeVry  Summer 
School  of  Visual  Education  founded  in 
1925  upon  the  suggestion  of  A.  P.  Hollis. 
Mr.  Hollis  had  had  experience  in  similar 
work.  The  response  of  the  teachers  was 
immediate. 

Its  membership  included  teachers  from 
nearly  every  state.  In  1936  the  name 
was  changed  to  read  as  it  does  now.  The 
late  conference  enrolled  602  members  and 
1162  advanced  applications  were  re- 
ceived. 

From  its  inception  it  has  been  the 
policy  of  the  conference  to  permit  no 
sales  solicitation  for  films  or  equipment 
either  on  the  floor  of  the  convention  or 
on  the  program.  There  are  no  equip- 
ment exhibits  except  the  machines  pro- 
vided for  projection. 

The  proceedings  cover  all  the  sessions 
from  June  20  to  23  inclusive.  Two  dra- 
matic subjects  from  Hollywood,  "Broken 
Lullaby"  and  "Tom  Sawyer,"  were 
shown,  after  having  received  prolonged 
experimental  study  at  thiity-two  schools. 
In  addition  a  list  of  about  800  shorts  has 
been  selected  from  Hollywood  shelves  by 
a  committee  of  educators  and  will  soon 
be  released. 


Richard  Lyford  descended  in  mid-October 
on  the  Pasadena  Movie  Club.  Some  pic- 
tures were  taken  along  and  shown.  In  a 
way  entirely  casual  during  the  brief 
business  meeting  it  was  brought  out  that 
the  organization  is  exceedingly  close  to 
the  local  chamber  of  commerce  and  to 
the  Rose  Bowl. 

More  important  even  than  that,  per- 
haps, is  the  functioning  of  such  a  com- 
mittee as  that  of  social  welfare.  Re- 
quests were  made  by  the  chairman  of 
the  committee  for  the  loan  of  films  such 
as  might  be  suitable  for  taking  into  the 
homes  of  shut-ins  as  well  as  into  large 
institutions.  The  chairman  gave  assur- 
ance that  those  responsible  for  the  film 
need  not  be  overafraid  to  show  their 
work,  pointing  out  that  those  sitting  in 
the  chairs  of  the  audience  were  not  in- 
clined to  be  over-critical — that  in  fact 
they  were  far  removed  from  the  cate- 
gory of  those  who  I'egularly  bought 
tickets  to  regular  theatres. 

The  action  of  the  Pasadena  Movie  Club 
is  worthy  of  high  praise — and  of  emula- 
tion, too,  by  other  clubs. 


Mrs.  Hettie  Dyhrenfurth  of  Switzer- 
land, whose  husband  is  an  expert  cam- 
eraman and  photographer,  and  professor 
for  visual  education  at  the  People's  Uni- 
versity of  Zurich,  talked  on  European 
and  American  documentaries.  The  two 
have  been  working  in  this  field  for  ten 
years.  America,  the  speaker  said,  is  far 
behind  the  European  countries  in  the 
matter  of  documentary  production. 

The  entire  book  is  jammed  with  mate- 
rial treating  of  subjects  produced  for 
purposes  other  than  straight  entertain- 
ment. Yet  it  is  a  book  that  belongs  in 
the  office  of  every  exhibitor  of  motion 
pictures,  for  exhibitors  may  leam  much 
about  their  own  business,  or  what  might 
be  their  business  if  they  so  would  make 
it — and  for  the  advantage  of  their  cus- 
tomers. 

For  those  engaged  in  teaching  children 
or  youth  the  book  is  invaluable  in  the 
information  it  contains — information  it 
does  not  seem  possible  to  obtain  from 
any  other  source. 


Mogull  Brothers,  68  West  Forty-eighth 
street.  New  York,  has  mailed  125,000 
copies  of  its  Bargaingram.  The  company 
claims,  and  in  all  probability  with  entire 
correctness,  this  is  the  largest  circulari- 
zation  among  amateur  and  professional 
photographic  followers  that  has  ever 
taken  place  in  the  industry. 

The  Bargaingram  is  of  four  pages  11 
by  17  inches  in  size.  It  lists  approxi- 
mately 1500  items,  many  of  them  one-of- 
a-kind  specials.  The  type  is  small,  but  it 
covers  a  lot  of  ground. 


128  PAGE  BOOK  RECORDS 
VISUAL  EDUCATION  MEET 


November,  1938    •    American  Cinematographer  479 


CINEMA  MUSIC  CLASSES 

ADDED  TO  U.S.C/s  LIST 


M 


AJOR  news  in  connection  with 
the  opening  of  U.S.C.'s  1938-39 
academic  year  in  cinematog- 
raphy was  the  inauguration  of  a  class 
in  cinema  music,  conducted  by  Boris 
Morros,  head  of  the  music  department 
at  Paramount. 

Mr.  Morros  is  instructing  two  widely 
different  types  of  students  at  one  and 
the  same  time.  The  first  type  is  the 
music  majors,  those  students  expecting 
to  make  music  and  composition  their 
profession.  The  second  type  is  the  cine- 
matography majors,  those  students  who 
are  not  musicians  but  wish  to  make 
motion  picture  production  their  profes- 
sion. 

The  music  majors  are  drilled  in  actual 
underscoring  and  composing  of  music 
for  pictures,  while  the  cinema  majors 
are  given  the  task  of  choosing  parts  of 
productions,  from  actual  scripts,  that 
should  be  turned  over  to  musicians  for 
underscoring  in  order  to  better  the 
showmanship  of  the  entire  picture. 

In  General  and  Detail 

Besides  this  specialization  both  types 
of  students  are  thoroughly  drilled  in 
the  actual  mechanics  of  musical  under- 
scoring such  as  sequence  timing,  musical 
cutting  and  editing,  playbacks,  rerecord- 
ing,  dubbing,  etc. 

In  this  way  each  type  of  student  is 
given  invaluable  instruction  in  his  own 
particular  field  as  well  as  becoming 
thoroughly  familiar  with  the  specific 
duties  and  problems  of  the  music  depart- 
ment. 

The  class  is  definitely  conducted  on  a 
policy  of  learning  by  doing,  the  most 
successful  of  all  methods  used  to  teach 
the  university  student  the  various  tech- 
nical phases  of  production.  Each  fourth 
meeting  is  held  at  Paramount  studios, 
where  instruction  can  be  conducted  under 
actual  studio  conditions. 

A  good  example  of  the  student's  ap- 
preciation of  instruction  by  studio  ex- 
perts is  evidenced  by  the  class  conducted 
by  the  man  in  charge  of  all  interiors 
for  Paramount,  A.  E.  Freudeman,  who 
conducts  a  course  in  problems  of  art 
direction. 

Jump  from  12  to  30 

Last  year  Mr.  Freudeman's  class  num- 
bered twelve  students.  These  soon  spread 
the  word  around  that  the  course  was  a 
veritable  gold  mine  of  infonnation  on 
studio  routine  and  pi-ocedure,  not  to 
mention  the  invaluable  discussion  of  the 
problems  of  set  designing  and  set  deco- 
rating for  photographic  purposes.  As 
a  result  Mr.  Freudeman's  class  this 
year  crowds  the  i-oom  to  capacity  and 
numbers  over  thirty. 

October  7  Lewis  W.  Physioc's  class  in 
camera  technique  was  held  at  the  labo- 
ratories of  Art  Reeves  on  Santa  Monica 
Boulevard.  Mr.  Reeves  and  his  asso- 
ciates   devoted   the    entire   evening  to 


actual  demonstrations  in  laboratory, 
sound  and  equipment  operation  and 
manufacture. 

Two  demonstrations  were  on  the  spec- 
tacular side.  First  the  sound  frequency 
apparatus  that  enabled  everyone  to  test 
exactly  how  sensitive  their  ears  were  to 


the  higher  frequencies.  Most  of  the  stu- 
dents could  detect  a  16,000  cycle  note, 
but  the  older  men  lost  out  quite  a  way 
below  this  figure. 

The  second  demonstration  had  to  do 
with  the  high-frequency  oscillator  used 
in  baking  out  the  elements  in  the  man- 
ufacture of  glow  tubes.  The  fact  that 
this  equipment  could  "boil"  and  actually 
burn  up  bits  of  metal,  without  evidence 
of  any  heat  application,  came  as  a  sur- 
prise to  most  of  those  attending  this 
outstanding  meeting  of  the  class. 

JACK  V.  WOOD,  S.A.C. 


EOTH.FOX  INSTALLS  NEW 
MAKE. UP  LAMPS 


PROVIDING  150  footcandles  of 
glareless  illumination,  with  a  heat 
reduction  of  80  per  cent  over  con- 
ventional tungsten  lighting,  a  new  all- 
fluorescent  lighting  system  has  been  in- 
stalled in  the  make-up  depai'tment  of  the 
Twentieth  Century-Fox  studios. 

The  new  system,  first  of  its  kind  to  be 
installed  in  a  motion  picture  studio,  em- 
ploys twenty-eight  of  the  new  daylight- 
color  fluorescent  lamps  developed  by 
General  Electric's  incandescent  lamp  de- 
partment. It  was  designed  and  con- 
structed by  W.  T.  Strohm,  chief  engineer 
of  Fox. 

The  elimination  of  glare  as  well  as 


most  of  the  heat  of  ordinary  lighting 
are  two  outstanding  virtues  of  the  new 
fluorescent  system  which  contribute 
greatly  to  the  comfort  of  the  make-up 
man  and  film  artist,  say  studio  officials. 
In  addition,  the  color  quality  of  the 
fluorescent  light — the  nearest  approach 
to  natural  daylight  ever  achieved  directly 
by  any  artificial  illuminant — has  proved 
ideal  for  both  Technicolor  and  black-and- 
white  picture  make-up. 

Clay  Campbell,  director  of  make-up  for 
Twentieth,  says  "It's  the  best  lighting- 
system  I  have  used."  The  photograph 
shows  Mr.  Campbell  applying  studio 
make-up  to  Binnie  Barnes,  popular  screen 
artist. 


Illustrating  new  fluorescent  lighting  in  makeup  work.  W.  T.  Strohm,  chief  engineer 
Twentieth  Centui-y-Fox,  designs  system  with  new  lamps  developed  by  General 
Electric's  incandescent  lamp  department.  Clay  Campbell,  make-up  director,  applies 

make-up  to  Binnie  Barnes. 


480     American  Cinematographer    •    November,  1938 


PLAN  YOUR  DRAMA. 


CONTINUITY  in  a  travel  film  or  a 
home  movie  can  be  reduced  to  the 
relatively  simple  matter  of  shoot- 
ing and  editing-  the  scenes  so  that  first 
things  come  first,  second  next,  and  so 
on.  This,  plus  remembering  to  get  long- 
shots  to  "establish"  locations,  and  plenty 
of  close-ups  to  clarify  all  important 
action,  is  enough  to  insure  good  con- 
tinuity in  ordinary  films. 

When  it  comes  to  the  making  of  dra- 
matic pictures,  however,  either  by  an 
individual  or  by  a  club  or  group,  con- 
tinuity grows  more  complex.  Not  only 
must  there  be  a  continuity  or  related 
succession  of  actions  and  ideas  but  of 
places  and  things. 

For  this  reason,  dramatic  films  should 
be  carefully  planned,  every  detail  being 
reduced  to  writing  before  shooting  com- 
mences. 

The  first  step  of  course  is  the  story. 
Begin  with  a  brief  synopsis  of  the  plot 
or  action.  Then  break  this  down  into 
terms  of  specific  action  and  camera 
angles.  This  is  termed  the  shooting  con- 
tinuity or  working  script.  It  is  virtually 
a  worded  blueprint  of  the  picture  as  the 
camera  will  see  it. 

It  should  specify  every  scene,  giving 
each  a  number  for  convenience  in  shoot- 
ing and  editing;  it  should  contain  an 
estimate  of  the  footage  that  will  be  re- 
quired, the  camera  set-up  and  angle,  the 
action,  and  the  type  of  location. 

Wherever  there  are  likely  to  be  spoken 
titles,  these,  too,  should  appear  in  the 
script,  so  that  when  the  scenes  are 
filmed  the  actors  may  know  what  words 
to  speak.  This  will  help  the  titles  to 
be  blended  more  smoothly  into  the  scenes. 

Important  Information 

This  script  contains  a  lot  of  mechan- 
ical information  which  will  be  of  the 
greatest  importance  in  getting  organ- 
ized so  actual  shooting  may  proceed 
smoothly.  In  addition,  it  contains  by  in- 
ference further  useful  facts  which  can 
be  ferreted  out  without  abnormal  pow- 
ers of  deduction. 

So  we  come  to  the  reason  why  so 
many  professional  assistant  directors 
have  gray  hairs:  Breakdowns. 

Before  any  production  unit,  profes- 
sional or  amateur,  commences  to  shoot, 
some  one  should  go  over  the  script  with 
a  fine  comb  and  break  it  down  into  lists 
that  will  enable  all  these  mechanical  de- 
tails to  be  organized  efficiently. 

Probably  the  first  breakdown  is  for 
locations.  This  is  simply  a  matter  of  list- 
ing all  the  scenes  according  to  the  places 
they  are  to  be  made.  Suppose  script 
Scenes  1,  13,  25-27,  .50  and  98  are  to 
be  made  in  your  own  living  room.  Scenes 
2,  3,  4,  28,  29,  47  and  100  may  all  take 
place  in  your  own  front  yard. 

Others,  in  a  neighbor's  home,  at  the 
golf  club,  and  so  on.  Clearly,  if  you  can 
dispose  of  all  the  scenes  scheduled  for 
any  one  location  together,  you  will  be 
-saved  a  lot  of  hurrying  and  scurrying 


around.  And  your  picture  will  be  "in  the 
box"  quicker. 

Sometimes  it  isn't  practical  to  work 
entirely  in  this  most  eflScient  manner. 
The  reason  is  shown  by  the  next  break- 
down, which  is  for  actors.  Most  ama- 
teur troupes  always  have  some  diflSculty 
in  having  all  the  players  on  hand  all  the 
time. 

Players'  Convenience 

One  can  hardly  wonder  at  it,  for 
despite  the  fun  involved  in  making  a 
picture  of  this  kind,  there  is  a  lot  of 
hard  work,  too.  And  there's  something 
very  irritating  to  most  people  about  hav- 
ing to  stand  by  for  half  a  day  or  more 
to  be  on  hand  for  appearing  in  a  single 
scene. 

So  this  breakdown  tells  us  in  which 
scenes  each  actor  appears.  Suppose  a 
certain  player  has  just  one  scene  among 
all  those  which  must  be  filmed  at  the 
country  club.  Knowing  that,  it  is  simple 

— and  a  good  deal  more  considerate  

to  schedule  the  shooting  there  so  that 
scene  comes  at  a  time  when  that  player 
can  conveniently  come  out,  do  his  scene, 
and  get  away  without  waiting. 

In  some  cases,  where  you  have  one 
principal  player  whose  time  is  strictly 
limited,  it  may  even  be  well  to  clean  up 
all  of  his  scenes,  regardless  of  location, 
in  a  single  day. 

Finish  Rest  Afterward 

Afterward,  you  can  finish  up  the  rest 
of  the  scenes  on  those  locations,  with  the 
more  leisured  players  and  technicians, 
as  may  be  most  convenient.  The  studios 
often  have  to  do  this,  particularly  when 
they  have  to  finish  quickly  with  an 
especially  expensive  player,  or  one 
needed  by  some  other  production  or 
studio. 

Next  comes  a  breakdown  for  proper- 
ties. This  includes  anything  needed  ir. 
a  scene,  from  an  elephant  to  a  mouse- 
trap. With  proper  care,  this  list  will 
eliminate  those  maddening  delays  which 
come  up  when,  for  instance,  you  are 
about  to  film  your  leading  man  playing 
golf — and  find  at  the  last  minute  no- 
body thought  to  bring  along  the  golf 
clubs ! 

Closely  related  is  the  breakdown  for 
costumes.  The  studios  list  each  principal 
player's  every  change  of  costume  by 
number,  and  corelate  this  breakdown 
with  those  for  location  and  people.  Thus 
when  the  call  sheet  specifies  scenes  4. 
6,  7,  8,  9,  34.  36,  and  88  at  the  golf 
club,  the  leading  man  sees  after  his 
name,  "No.  1,"  which  indicates  a  defi- 
nitely specified  combination  of  garb, 
while  the  leading  woman  may  see  "No. 
4"  after  her  name,  indicating  she  is  to 
report  in  an  equally  specific  sports  en- 
semble. 

Avoiding  "Boners" 

This  detail,  inconsequential  as  it  may 
.seem  at  first  thought,  is  vitally  im- 
portant, for  it  can  save  much  embarrass- 
ing "boners"  as  showing  the  leading  man 


leaving  a  room  (in  Scene  1,  made  on 
Thursday)  clad  in  a  business  .suit  and 
immediately  walking  through  the  front 
door  in  Scene  2  (filmed  ten  miles  away 
on  Sunday,  two  weeks  later)  clad  in 
slacks  and  a  sport  shirt.  Even  in  pro- 
fessional films,  such  things  often  hap- 
pen; in  amateur  films,  unless  great  care 
is  taken  with  these  details,  they  are 
doubly  likely. 

Thus  we  have  four  separate  but  inter- 
related breakdowns  derived  directly  from 
the  script.  At  least  two  more  can  be 
deduced  from  a  further  study  of  the 
same  document. 

First  it  is  often  necessary  to  break 
down  things  to  supply  a  list  of  the  pho- 
tographic equipment  necessary  for  each 
scene.  Of  course  such  inevitables  as  cam- 
era, tripod  and  film  can  be  expected  for 
every  scene;  your  camera  crew  had  bet- 
ter be  replaced  if  it  can't  remember 
these  essentials. 

But  it  is  helpful  to  know,  for  in- 
stance, that  certain  scenes  will  be  made 
indoors,  necessitating  that  lights,  extra 
photofloods,  cables,  spare  fuses,  "gobo" 
screens,  and  the  like  be  on  hand. 

Other  scenes,  made  outdoors,  may  re- 
quire reflectors.  If  you  are  going  to 
make  both  interiors  and  exteriors  at  the 
same  place,  or  on  diflferent  locations  but 
on  the  same  day,  these  notes  as  to 
equipment  will  prove  invaluable,  for 
when  you  need  anything  it  will  be  there. 

Another  important  item  for  break- 
downs is  transportation.  In  most  cases, 
everyone  will  have  a  car;  but  transpor- 
tation must  be  provided  for  those  who 
haven't.  In  addition,  definite  provision 
must  be  made  for  getting  all  necessary 
props,  changes  of  costume,  phototechni- 
cal  equipment  and  the  like,  to  the  right 
place  at  the  right  time. 

Transportation  Protection 

Incidentally,  don't  go  on  location  and 
let  all  your  cars  get  away  simply  be- 
cause you  expect  to  work  there  all  day! 
Something  unexpected  is  sure  to  come 
up— and  a  "stand-by"  car  is  often  a  life- 
saver. 

Now  we  have  six  complete  breakdowns, 
covering  : 

1.  Locations. 

2.  Cast. 

3.  Props. 

4.  Costumes. 

5.  Photographic  equipment. 

6.  Transportation. 

These  must  be  coordinated  as  regards 
shooting  dates.  So  the  final  breakdown 
provides  the  shooting  schedule.  This  will 
set  the  golf  course  scenes,  let's  say,  for 
Friday;  the  scenes  in  John  Smith's  home 
and  yard  for  Saturday;  those  in  Henry 
Jones'  orchard  for  Sunday;  those  along 
the  river  road  for  the  following  Wednes- 
day, and  so  on. 

When  all  of  these  interlocking  details 
are  cross-checked  and  proved  accurate, 
it  is  a  good  plan  to  supply  all  concerned 
with  written  memoranda  as  to  all  the 


November,  1938    •    American  Cinematographer  481 


details  that  concern  them.  Your  leading 
man  must  know  when  he  will  be  wanted 
at  the  golf  course,  in  what  outfit  and 
how  he  will  get  there, 
that  she  has  but  half  a  day's  work  there, 
but  will  need  two  different  costumes. 
Your  comedian  and  villain  must  know 
what  days  they  will  be  wanted  (and 
what  days  they  won't!),  and  all  the 
other  details  concerning  their  participa- 
tion. The  same  applies  to  your  camera 


New  York  8mm.  Club 

Plans  for  a  club  film  interchange  were 
laid  by  the  New  York  8mm.  Movie  Club 
at  its  first  fall  meeting  at  the  Hotel 
Pennsylvania  September  19.  The  New 
York  group  has  a  number  of  member- 
made  films  available  for  loan  to  other 
clubs  on  an  exchange  basis,  and  arrange- 
ments are  already  being  made  with 
several  8mm.  groups  throughout  the 
country.  For  details,  club  ollicials  may 
write  to  Walter  C.  Mills,  35  Park  View 
Avenue,  Bronxville,  New  York. 

The  feature  of  the  September  meeting 
was  the  showing  of  the  first  crop  of 
vacation  films,  including  two  Koda- 
chromes  of  England  by  Mr.  Mills,  polar- 
ized color  work  around  Lake  Michigan 
by  Karl  Swartzel,  a  waterfront  film  by 
A.  P.  Schafenberg,  and  unedited  reels  by 
members  MacGregor  and  Blecksley. 

Mr.  Swartzel  was  elected  to  the  mem- 
bership committee  to  fill  the  vacancy 
caused  by  Mr.  Blecksley's  retirement 
from  active  participation  when  he  leaves 
to  take  up  new  duties  in  the  middle  west. 
The  club's  limited  membership  of  twenty- 
five  is  complete,  and  a  waiting  list  has 
been  established. 

The  highlights  of  the  October  meeting 
of  the  New  York  8mm.  club  at  the  Hotel 
Pennsylvania  were  a  talk  by  Mr.  Hall 
on  "Limitations  of  8mm.  films"  and  the 
introduction  by  Program  Director  Holly- 
wood of  the  new  club  policy  of  screening 
notable  outside  8mm.  films. 

The  first  two  of  these  were  T.  J. 
Courtney's  "Seaside  Rambles,"  a  picto- 
rial reel  of  a  Nova  Scotia  fishing  village, 
and  Raymond  O'Connell's  "Beach  Holi- 
day," a  well  written  scenario  film. 

Member  films  included  Mr.  Brande- 
gee's  "Tennis  Match,"  Mr.  Boice's  "Ber- 
muda Holiday,"  and  Mr.  Hackshall's 
"Adirondack  Sportsman."  Mr.  Boice's 
film  used  polariaztion  to  a  great  extent, 
with  a  notable  gain  in  color  depth  and 
contrast. 

VINCENT  McGARRETT. 


Tri-City  Movie  Club 

The  September  meeting  of  the  Tri-City 
Movie  Club  of  Davenport,  Iowa,  was  held 
at  the  Peoples  Light  Company  auditorium 


crew,  your  property  men  and  all  the 
rest. 

All  of  this  sounds  like  a  lot  of  paper 
work.  It  is.  But  it  is  very  well  worth 
while.  Ask  anyone  who  has  tried  mak- 
ing a  dramatic  film  without  such  prepa- 
i-ation.  He'll  tell  you  that  although  good 
pictures  can  be  made  without  this  type 
of  preparation,  they  can  be  made  better 
and,  what's  more,  much  easier  if  the  de- 
tails are  planned  for  ahead  of  time! 


September  21.  About  100  persons  were 
present.  Carl  Holmes  gave  a  talk  on 
"Titling,"  followed  by  a  discussion  of  the 
subject  by  the  various  members.  Three 
films  were  shown.  They  were: 

"Brookfield  Zoo,  1937-38,"  400  feet 
16mm.  Kodachrome,  Dr.  Albert  M.  Muel- 
ler; "Our  Summer  Training  Cruise."  150 
feet,  8mm.  Kodachrome,  Dr.  R.  Bruce 


New  B.^H,  f:L5  Lens 

Supplementing  but  in  no  way  sup- 
planting the  Taylor-Taylor-Hobson 
1-inch  f  :1.5  lens  recommended  and  regu- 
larly furnished  with  its  16mm.  equip- 
ment, Bell  &  Howell  now  offers  a  some- 
what lower  priced  1-inch  lens  as  optional 
equipment  or  for  replacement  purposes. 
It  is  stated  that  while  the  new  lens  is 
lower  in  cost,  it  is  of  a  quality  far  be- 
yond expectation  at  the  price. 

This  lens  is  fully  color  corrected  and 
accurately  calibrated  for  photographing 
subjects  as  close  to  the  camera  as  IV2 
feet.  It  is  for  use  on  all  Bell  &  Howell 
Ifimm.  cameras,  and  includes  adaptor 
when  ordered  for  the  Filmo  model  121. 


Collins;  "Circus  Pictures,"  400  feet, 
16mm.  Kodachrome,  Richard  Swift. 

We  now  have  approximately  seventy 
paid  members  in  the  group,  all  of  whom 
are  considered  charter  members.  We  look 
forward  to  a  very  successful  year. 


Los  Angeles  8  mm.  Club 

President  Cornell  called  the  meeting  to 
order  at  8  p.m.  at  the  Eastman  Audi- 
torium, 6706  Santa  Monica  Blvd. 

It  was  announced  the  November  meet- 
ing was  to  be  the  occasion  for  the  annual 
election  of  new  officers. 

The  president  introduced  Mr.  Andrews 
of  the  Eastman  Kodak  Company,  who 
gave  us  an  excellent  and  scholarly  short 
talk  on  Kodachrome,  its  properties,  its 
construction  and  how  to  shoot  it. 

Al  Leitch  then  gave  the  club  a  resume 
of  the  annual  picnic  which  was  real  and 
inclusive. 

What  turned  out  to  be  the  feature  of 
the  evening  was  the  showing  by  Richard 
Lyford  of  his  picture  "The  Earth  Turns," 
completely  scored  and  ably  projected  by 
its  maker.  This  16mm.  feature  picture, 
which  was  1600  feet  in  length,  was  ex- 
cellent in  almost  every  respect. 

The  pictures  of  our  second  annual 
picnic  were  then  projected  for  the  amuse- 
ment of  those  who  participated  and  the 
edification  of  those  who  did  not. 

The  meeting  adjourned  until  November 
8  at  the  Bell  &  Howell  Auditorium. 

BION  B.  VOGEL,  Secretary 


Tri-City  Amateur  Cinema 

At  the  September  21  meeting  of  the 
newly  organized  Tri-City  Amateur  Cine- 
ma Club,  composed  of  amateur  cinema- 
tographers  of  Davenport,  Iowa,  and 
Rock  Island  and  Moline,  111.,  Dr.  Albert 
N.  Mueller  of  Rock  Island  exhibited 
forty  8  by  10  enlargements  and  thirty- 
six  2%  by  SVr,  prints.  They  were  all 
enlarged  according  to  the  method  de- 
scribed by  the  doctor  in  an  article  under 
his  name  in  this  issue. 

The  showing  was  received  with 
marked  interest  by  the  meeting. 


Philadelphia  Cinema 

Highlighting  the  October  meeting  of 
the  Philadelphia  Cinema  Club  held  Tues- 
day, October  11,  at  the  Hotel  Adelphia, 
was  a  talk  by  F.  C.  Bobier,  meter  spe- 
cialist from  the  General  Electric  Com- 
pany, Schenectady,  N.  Y. 

Mr.  Bobier's  talk  on  the  general  use 
of  exposure  meters  brought  out  several 
interesting  facts,  such  as  duplicating 
conditions  close  to  the  meter  of  distant 
scenes,  using  flesh  tones  for  incidental 
light  and  using  reflected  light  under 
certain  conditions.  His  talk  was  well 
I'eceived  and  appreciated. 

Sixty-four  members  were  in  attend- 
ance at  this  meeting,  which  was  opened 
by  Vice  President  A.  L.  0.  Rasch,  who 


New  f  :1.5  Extol  lens  for  all 
Bell  &  Howell  16mm.  cameras. 


Notes  of  the  Clubs 


482     American  Cinematographer    •    November,  1938 


delivered  a  talk  on  Ripley  Wayne  Bug- 
bee,  the  late  president  of  the  Club, 
who  passed  away  last  month. 

Eight  hundred  feet  of  black  and  white 
film  titled  "Camp  Tamiment,"  by  Leon 
M.  Bardfeld,  closed  the  meeting. 

B.  N.  LEVENE, 
Chairman  Publications  Committee. 


San  Francisco  Cinema 

The  regular  monthly  meeting  of  the 
Cinema  Club  of  San  Francisco  was  held 
October  18  at  the  Auditorium  of  Kohler 
&  Chase. 

Instead  of  the  announced  "still  con- 
test" which  had  been  postponed,  the 
program  consisted  of  "A  Trip  Around 
the  World"  with  J.  0.  Tucker,  who  told 
of  the  places  visited,  his  experiences 
with  different  types  of  film  in  different 
parts  of  the  world  and  particularly  the 
use  of  Kodachrome.  He  also  projected 
a  number  of  Kodachrome  slides. 

At  the  November  meeting  you  will  be 
asked  to  elect  a  nominating  committee 
of  five  who  will  present  at  the  December 
meeting  the  names  of  those  recommend- 
ed for  office  for  1939. 

E.  G.  PETHERNICK,  President 


Chicago  Cinema  Club 

The  nominating  committee  of  the  Chi- 
cago Cinema  Club  presented  the  follow- 
ing names  to  the  membership  for  the 
1938-9  officers:  President,  E.  J.  Hamme; 
vice  president,  H.  W.  Clark;  secretary, 
Miss  Thye;  treasurer,  H.  G.  Aschoff; 
board  of  directors,  E.  J.  Hamme,  chair- 
man; H.  W.  Clark,  Miss  Thye,  A.  Lubin, 
Sherman  Arpp,  Warren  Sandage  and 
Lloyd  Ryan. 

October  20  the  club  met  at  the  Great 
Northern  Hotel,  its  479th  meeting,  and 
filmed  the  "Lake  View  Review,"  photo- 
graphed by  James  P.  Fitzwater.  The 
producer  is  known  as  a  user  of  8mm. 
cameras  who  on  special  extra  occasions 
employs  16mm.  That  may  be  recorded 
as  something  out  of  the  usual,  in  other 
words  as  news. 

The  October  27  program  was  contrib- 
uted by  the  women  members,  and  on 
the  details  of  it  the  word  was  Mum. 


Conway  C 
New  Ch 


Co, 
o  Firm 


The  Conway  Camera  Company  for- 
mally opened  its  store  at  34  North  Clark 
street,  Chicago,  October  15.  The  presi- 
dent of  the  concern  is  Selwyn  S. 
Schwartz,  formerly  general  manager  of 
the  Central  Camera  Company. 

Among  the  features  of  the  store  will 
be  a  modern  exhibition  gallery  display- 
ing one  man  shows  by  prominent  pro- 
fessional and  amateur  photographers. 
The  first  will  be  staged  by  Stephen 
Deutch.  There  will  be  a  wide  range  of 
cameras,  both  still  and  motion,  and  every 
photographic  accessory. 

In  addition  the  company  will  provide 
a  fine  grain  developing,  enlarging  and 
finishing  service.  Mr.  Schwartz  has  ex- 
tended a  cordial  invitation  to  readers  of 
this  publication  to  look  in  on  him  in  his 
new  home. 


AGFA  ANNOUNCING  Fj6.3 
CLIPPER  SPECIAL 


DESIGNED  especially  for  the  use 
of  amateur  photographers,  two 
new  tripods  possessing  several  dis- 
tinctive features  have  just  been  an- 
nounced by  Agfa  Ansco  Corporation  of 
Binghamton,  N.  Y.  The  two  tripods, 
which  are  constructed  of  a  carefully 
planned  combination  of  cold  rolled  steel, 
forged  aluminum,  and  machined  brass, 
are  not  only  light  in  weight  but  provide 
remarkable  rigidity  in  use. 

The  tripods  have  four  section,  telescop- 
ing legs  that  open  quickly  to  extended 
position.  The  tripod  legs  have  a  five-side 
design  that  results  in  unusual  rigidity 
and  resistance  to  wobble  or  side-weaving. 
When  closed,  the  legs  form  a  compact, 
nine-faceted  circle,  1  inch  in  diameter. 


16  mm.  DUPLICATES 

Quality  reproductions  of  Color  Films,  Black  and 
White  duplicates,  Negative  Developing  and 
printing.  Duplicates  made  from  film  with  torn 
Sprocket  holes,  Special  film  for  titles  in  color. 
35mm.  Film  Strips  and  Film  Slides. 

General  Laboratory  Service. 

Film  Reproduction  Compcmy 

Box  II&,  Dept.  H  Des  Moines,  Iowa 


KODACHROME 

DUPLICATES 

STITH  NOBLE  CORP. 

YO  0331 

645  North  Martel  Ave.,  Hollywood,  Calif. 


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LENSES 

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24;  W.  59   ST..  NEW  YOKK 


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Special  Motion  Picture  Printing- 
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CHICAGO 


16mm. 


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3  -  $3.00 
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S.  PAN  -  -  - 
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(Amber) 

Prices  Include  Processing  and 
Return     .     .     .  Guaranteed 

Royal  Studios 


6509  Clarkson  Ave. 


Bell,  Calif. 


The  Agfa  No.  1  metal  tripod,  which  is 
furnished  with  a  stationary  head,  meas- 
ures 15%  inches  in  length  when  closed, 
yet  extends  to  a  height  of  48  inches.  Its 
weight  is  only  19  ounces.  The  stud  of 
the  No.  1  tripod  is  of  the  reversible  type 
and  can  be  adapted  for  either  American 
or  Continental  tripod  sockets  by  the 
simple  removal  of  one  sci'ew. 

Lock  at  Any  Angle 

The  Agfa  No.  2  metal  tripod  provides 
a  ball  and  socket  swivel  head  that  per- 
mits locking  the  camera  at  any  angle 
including  straight  up  or  straight  down. 
The  weight  of  the  No.  2  tripod  is  but  23 
ounces.  Its  length  is  but  17  inches  closed, 
while  it  extends  49%  inches  opened.  Both 
tripods  are  equipped  with  removable 
rubber  tips  that  fit  over  the  metal  pointed 
feet  and  thus  prevent  scratching  or  slip- 
ping on  polished  floors. 

These  two  new  Agfa  tripods,  which 
merit  close  inspection  by  all  amateur 
photographers,  can  be  obtained  from 
regular  photographic  dealers.  The  No.  1 
tripod  retails  at  $3.95  and  the  No.  2  at 
$4.95. 


New  Lafayette  Products 

The  camera  division  of  Wholesale 
Radio  Service  Company  of  100  Sixth 
avenue.  New  York,  announces  the  addi- 
tion of  two  items  in  its  line  of  Lafay- 
ette photographic  chemicals,  Acid  Fix- 
ing Powder  and  M-Q  Developer  Tubes. 

The  Acid  Fixing  Powder  is  packaged 
in  a  thoroughly  moisture-proofed  "Lac- 
quer-lined" container.  Careful  tests  have 
shown  the  acid  fixing  powder  works  per- 
fectly with  all  makes  of  films,  plates 
and  papers  and  is  especially  suitable  for 
fine  grain  work. 

The  new  M-Q  Developer  tubes  are 
fitted  with  a  tapered,  oxidization-pre- 
venting, separating  cork  which  preserves 
the  high  quality  of  the  chemicals  for 
unusually  long  periods  of  time  with  a 
guaranteed  minimum  period  of  one 
year. 


Gevaert  Reduces  Prices 

The  Gevaert  Company  of  America, 
Inc.,  announces  a  reduction  in  the  price 
of  Panchro  Super  Reversal  to  $3.25  for 
50-foot  length  and  to  $6  for  100  feet. 
The  new  price  on  Panchro  Microgran 
Reversal  is  $2.50  for  the  50-foot  and 
$4.50  for  the  100  feet.  The  prices  rep- 
resent a  reduction  of  from  20  to  25 
percent.  Ortho  Reversal  is  reduced  to 
$2.50  from  $2.75  for  the  50-foot  length. 


Files  for  Sale 

The  Hollywood  Photo  Supply  Shop, 
1638  Cahuenga  avenue,  has  received  from 
a  client  for  sale  bound  copies  of  three 
magazines  from  January  1,  1932,  to  date: 
American  Cinematographer,  Movie 
Makers  and  International  Photographei-. 


November,  1938    •    American  Cinematographer  483 


Academy  Council  Readies 

Test  Reels  for  Theaters 

Effective  immediately,  the  Academy 
Research  Council  will  have  available  both 
variable  area  and  variable  density  stand- 
ard multi-frequency  test  reels  for  use  in 
checking  sound  reproducing  equipment. 

The  primary  standard  reels  contain  a 
complete  set  of  frequencies  and  second- 
ary standard  reels  a  lesser  number  of 
frequencies. 

Prints  of  either  type  reel  contain  ap- 
propriate sound  titles  announcing  each 
frequency  and  each  print  is  individually 
calibrated  to  a  film  used  as  a  calibrating 
standard.  A  sheet  listing  these  calibra- 
tions accompanies  each  print. 

Experience  in  making  up  these  reels 
indicates  that  the  meter  fluctuation  for 
any  one  frequency  within  one  reel  is  less 
than  Vi  db. 

Inquiries  from  theatre  servicing  organ- 
izations, theatre  circuits  and  individual 
theatres  regarding  these  reels  are  invited 
and  should  be  addressed  to  the  Researcn 
Council,  Academy  of  Motion  Picture  Arts 
and  Sciences,  1217  Taft  Building,  Holly- 
wood, Cal. 

Prices:  secondary  standard  reels, 
$17.50  each;  primary  standard  reels, 
.$25  each.  (All  prices  f.o.b.  Hollywcod, 
Calif.).  These  prices  subject  to  a  dis- 
count of  15  per  cent  in  lots  of  10  or  more 
ordered  at  one  time. 


Bell     Howell  Busy 

Two  months  ago  Bell  &  Howell  an- 
nounced its  new  automatic  16mm.  cam- 
era, Filmo  141,  requiring  no  film  thread- 
ing, equipped  with  a  positive,  Holly- 
wood-type viewfinder  and  other  refine- 
ments new  to  movie  cameras  for  ama- 
teur use.  Announced  prices  were  $127.50 
and  upward,  depending  on  speeds  and 
lens  equipment. 

Early  in  October  the  Bell  &  Howell 
assembly  lines  were  reported  as  working 
twenty-four  hours  a  day  and  seven  days 
a  week  in  order  to  produce  a  sufficient 
number  of  Filmo  141s  to  meet  the  de- 
mand. 

T 

Dallas  Gets  Agfa  Office 

In  order  to  give  better  service  to  its 
customers  in  the  Southwest,  Agfa 
opened  on  September  15  a  new  branch 
office  at  2025  Commerce  Street,  Dallas, 
Texas.  The  new  office  will  carry  a 
complete  stock  of  Agfa  photographic 
materials. 

▼ 

"Photography  by  Polarized 
Light"  New  Eastman  Book 

Priced  at  50  cents,  a  new  book  on 
polarized  light  in  connection  with  pho- 
tography is  announced  by  Eastman. 

"Photography  by  Polarized  Light" 
discusses  the  various  types  of  pola 
screens  available,  describes  the  effects 
produced  by  their  use  and  illustrates 
these  effects  by  drawings  and  photo- 
graphs.  Exposure   time,   filters,  acces- 


sories and  negative  materials  to  be  used 
when  employing  pola  screens  are  also 
treated  fully. 

▼ 

Film  Reproduction  Adds 
to  Service 

The  Film  Reproduction  Company,  Box 
116,  Department  H,  Des  Moines,  Iowa, 
has  added  to  its  service  a  department 
for  color  reproductions  of  Kcdachrome 
and  another  for  the  copying  of  films  with 
torn  sprocket  holes.  Other  specialties 
featured  by  the  company  are  repi-oduc- 
tions  of  black  and  white  16mm.  films, 
negative  developing  and  printing,  special 
film  for  titles  in  color  and  35mm.  film 
strips  and  film  slides. 


ORDER  NOW 

for  Christmas  gifts 

NATURAL  COLOR 
Enlargement  Prints 

from  Kodachrome  and  Dufay 

5x7  Prints,  $10.00—8x10  Prints,  $15.00 
11x14  Prints,  $20.00 

"Thrii  cost  more  and  arc  icorth  more" 

SATISFACTION  AND  PROMPT 
DELIVERY  GUARANTEED 

//  your  photographic  dealer  cannot  give  you 
our  service  send  ifour  transparencies  to  us. 

HESSERCOLOR  CORP. 

4605  Hollywood  Blvd.,  Dept.  ACII,  Hollywood, 
California 

Dealers  write  for  terms 


GOERZ 


REFLEX  FOCUSER 


for  Movie  Cameras 

without  fsroundglass 

GIVES  YOU 

Visual  groundglass 
focusing 

ELIMINATES  PARALLAX 

between  the  optical  axi.s  of  the  finder  and 
that  of  the  photo-lens. 

ELIMINATES  FOCUSING  SCALES 

and  is  left  on  camera  while  grindinp: 
pictures.    Indispensable  for 

VERY  ACCURATE  V/ORK 

For    more    information    and    also    on  our 
KINO-HYPAR  F2.7  15MM. 
WIDE-ANGLE  LENS 
and 

KINO-HYPAR  F2.7  75MM. 

for    Lonp-Distance    Shots    and  Close-L'ps 
address  Dept.  A.C.I  1. 


C.P.GOERZ  AMERICAN  OPTICAL  CO. 


317  E.  34  St.  New  York,  N.  Y. 

American    Lens    Makers    Since  1899 


Midget  Sun  Is  1000- Watt 

Cigarette  Sized  Mercury 

IN  THE  form  of  a  lOOO-watt  mercury 
lamp,  a  midget  sun,  no  larger  than 
a  cigarette,  yet  designed  to  attain  a 
brilliancy  equivalent  to  about  one  fifth 
that  of  the  sun's  surface,  is  announced 
by  the  incandescent  lamp  department  of 
General  Electric  Company  at  Nela  Park, 
Cleveland. 

Since  the  light  source,  an  arc,  is  high- 
ly concentrated  and  is  approximately 
twelve  times  as  brilliant  as  the  incan- 
descent filament  of  a  lOOO-watt  standard 
projection  lamp,  iiela  engineers  believe 
the  watercooled  midget  sun  wiW  revolu- 
tionize lighting  practice  in  numerous 
fields  of  light  projection. 

Results  of  numerous  laboratory  tests 
indicate  that  the  new  lamp  can  be  used 
to  great  advantage  in  photo-engraving 
work,  in  blueprinting,  photo-enlarging, 
in  searchlights,  ^and  for  therapeutic 
application. 

The  new  lamp  consists  of  a  little 
quartz  tube.  Confined  within  a  tiny  bore 
inside  the  tube  is  a  globule  of  mercury 
and  a  trace  of  argon  gas.  Each  end  of 
the  quartz  tube  is  furnished  with  a 
brass  ferrule  which  provides  proper  elec- 
trical contact. 

In  producing  so  brilliant  a  light,  the 
midget  sun  develops  such  high  pressure 
and  heat  as  to  destroy  itself  unless  the 
lamp  is  properly  water  cooled.  By  devel- 
oping an  ingenious  water  cooling  jacket, 
permitting  three  quarts  of  water  a 
minute  to  flow  past  the  gleaming  mer- 
cury lamp,  Nela  Park  engineers  found 
a  practical  way  to  carry  off  the  excess 
heat  without  affecting  the  light  output. 

The  cylindrical  glass  portion  of  the 
water  jacket  is  about  the  size  of  a  shot- 
gun cartridge.  A  screw  adjustment  at 
one  end  of  the  jacket  permits  easy  in- 
sertion and  removal  of  the  quartz  lamp. 
Metal  connections  for  water  intake  and 
outlet  are  located  at  either  end  of  this 
watercooling  accessory. 

T 

New  Johannesburg  Theaters 

Four  new  suburban  theaters  are 
planned  for  Johannesburg  as  a  part  of 
plans  to  provide  Union-wide  distribution 
of  an  American  company's  films.  All  of 
the  theaters  will  be  privately  owned,  as 
the  American  distributing  company  does 
not  plan  to  operate  except  as  dis- 
tributors. 

A  recent  announcement  was  to  the 
effect  that  by  the  end  of  1938  twenty- 
four  theaters  of  the  chain  would  be 
exhibiting. 

T 

Wihon  Returns 

0.  N.  Wilton,  foreign  sales  manager  of 
Bell  &  Howell,  has  returned  from  an  ex- 
tended trip  through  the  British  Isles, 
Norway,  Sweden,  Holland,  France,  Italy 
and  Germany  surveying  Bell  &  Howell 
motion  picture  equipment  trade  interests. 
He  pronounces  the  trade  outlook  excel- 
lent. 


484     American  Cinematographer    •    November,  1938 


This  is  the  f.3.5  model,  the  senior,  of  the 
new  Kodak  Model  3.5s.  Snpplementi-)i;i 
are  the  f.i.5  and  f.5.()  models. 


Eastman  Issues  Series  of 

Moderate  Priced  35mms. 

THREE  new  moderately  priced 
miniature  cameras,  the  Kodak 
35s — trim  in  appearance,  ar.d  ex- 
tremely capable  in  performance — are 
announced  from  Rochester  by  the  East- 
man Kodak  Company. 

These  new  35mm.  cameras  incorpo- 
rate many  technical  advantages  gener- 
ally associated  with  miniature  cameras 
in  a  higher  price  range.  Automatic 
control  of  film  centering  and  winding, 
automatic  exposure  counting,  lenses  cor- 
rected for  either  black-and-white  or  full 
color  photography,  and,  in  the  models 
with  faster  lenses,  a  built-in  self-timer 
and  automatic  device  for  preventing 
double  exposures  are  among  the  features 
which  will  appeal  to  all  camera  users. 

The  Kodak  35  with  Kodak  Anastigmat 
Special  f.3.5  lens  has  a  Kodamatic  shut- 
ter with  five  speeds  to  1/200  second,  plus 
self-timer.  The  shutter  is  set  automat- 
ically for  the  next  picture  as  the  film  is 
wound.  This  model  will  retail  at  $39.50. 

Another  model,  equipped  with  Kod^k 
Anastigmat  f.4.5  lens  and  Kodak  dio- 
matic  shutter  with  four  speeds  to  1/150 
second,  also  has  a  built-in  self-timer  and 
a  similar  fully  automatic  device  for  pre- 
venting double  exposures.  This  model 
will  retail  at  $29.50.  Both  of  these  cam- 
eras have  a  convenient  clip  for  attach- 
ing a  Kodak  pocket  range  finder. 

A  third  Kodak  35,  equipped  with 
Kodak  Anastigmat  f.5.6  lens,  has  a 
Kodex  shutter  with  three  speeds  to 
1/100  second,  and  will  retail  at  $18.50. 
It,  too,  has  automatic  film  centering  and 
winding  control,  and  its  lens  is  corrected 
for  full  color  photography  as  well  as 
black-and-white. 

Each  of  the  Kodak  35s  is  equipped 
with  a  folding  optical  eye  level  view 
finder  and  a  one  piece  bottom  and  back 
which  may  be  unlocked  and  slid  off  for 
full  access  to  the  interior  of  the  cam- 
era. This  feature  makes  loading  rapid 
and  easy,  and  facilitates  cleaning  of 
the  camera.  All  three  Kodak  35s  have 
convenient  fingertip  focusing  from  four 
feet  to  infinity  by  revolving  the  lens 
mount. 

Lenses  of  the  Kodak  35s  need  not  be 
pulled  forward  into  position  before  a 
picture  is  taken.  They  are  permanently 
extended  on  a  compact  tubular  mount  of 
extreme  sturdiness.  This  feature  keeps 
the  camera  ready  for  instant  action. 
For  protection,  lenses  are  deeply  re- 
cessed in  their  mounts. 

The  camera  bodies  are  shaped  for  firm 
holding  and  comfortable  "feel,"  and  are 
finished  in  black  pin-seal  grain  molded 
into  the  newly  developed  and  extremely 
tough  damage  resistant  material,  with 
bright  metal  and  black  lacquer  trim  and 
fittings. 

These  cameras  load  with  standard  18 
or  36  exposure  magazines  of  Kodak 
35mm.  film.   Among  the  films  available 


are  Kodak  Panatomic  X,  Plus-X,  Pan- 
atomic,  Super-X,  Kodak  Infra-Red,  the 
new  extra-speed  Super-XX,  and  full 
color  Kodachrome  Film    (Regular,  for 


FOR  SALE 


WALL  SINGLE  SYSTEM,  COMPLETE;  rebuilt 
B  &  H  sound  printers;  rebuilt  Duplex  sound 
and  picture  printers ;  200  ft.  Stinemann  devel- 
oping reels;  used  measuring  machines.  Com- 
plete Akeley  camera  equipment.  Akeley  1000-ft. 
magazines,  synchronous  camera  motors.  Motors, 
sunshades,  finders,  lenses  and  all  accessories. 
Write,   wire  or  cable : 

MOTION   PICTURE   CAMERA   SUPPLY,  INC. 

723  Seventh  Avenue  New  York  City 

Cable:  Cinecamera 

THE  WORLD'S  LARGEST  VARIETY  OF 
Studio  and  Laboratory  equipment  with  latest 
improvements  as  used  in  Hollywood  at  tremen- 
dous savings.  New  and  Used.  Mitchell,  Bell- 
howell,  Akeley,  De  Brie,  Eyemo,  animation 
process  cameras,  lenses,  color  magazines,  adapt- 
ors, lighting  equipment,  silencing  blimps,  dollies, 
printers,  splicers,  moviolas,  motors,  light-testers, 
gear  boxes,  synchronizers.  Guaranteed  optically 
and  mechanically  perfect.  Send  for  bargain 
catalogue. 

HOLLYWOOD  CAMERA  EXCHANGE 
1600  Cahuenga  Blvd..  Hollywood,  Calif. 

Cable:  Hocamex 

BELL  AND  HOWELL  170°  CAMERAS— High 
speed  shuttles — high  speed  gear  boxes — 400  and 
1000  foot  Bell  &  Howell  magazines — Bell  & 
Howell  tripods — motors.  Mitchell  silenced  cam- 
eras. AKELEY  and  DEBRIE  CAMERAS.  Akeley 
motors.  High  speed  motors.  Sunshades,  lenses 
and  finders. 

Write  or  Wire 
CAMERA  EQUIPMENT  COMPANY 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 

WE  BUY,  SELL  AND  RENT  PROFESSION  A;. 
AND  16  mm  EQUIPMENT  NEW  AND  USED. 
WE  ARE  DISTRIBUTORS  FOR  ALL  LEAD- 
ING MANUFACTURERS.  RUBY  CAMERA 
EXCHANGE,  729  Seventh  Ave.,  New  York  City. 
Established  since  1910.  

NEW  PRECISION  TEST  REEL  FOR  PROJEC- 
tion  and  Sound.  Developed  by  prominent  SMPE 
member.  Combination  visual,  sound  tests  for 
all  soundtrack  adjustments.  Indicates  travel 
ghost,  sidesway,  picture  jump,  etc.  Contains 
visual  targets  and  constant  level  frequencies. 
W.  E.  Mirrophonic  recording.  Truly  simpli- 
fied, easily  understood.  Comparative  value, 
$75.00.  With  full  instructions,  $29.50.  16mm 
edition,  $17.50.  S.O.S.,  636— 11th  Ave..  New  York. 


daylight  picture,  and  Type  A,  for 
Photoflood  light). 

Delivery  of  Kodak  35s  will  begin  in 
November. 


JUST  FOR  FUN,  TRY  MAKING  A  HOME 
movie  from  a  "shooting"  script,  written  by 
professional  writers,  designed  especially  for 
amat«ur  cameramen  using  amateur  equipment. 
Not  a  synopsis,  but  a  technically  accurate  work- 
ing script.  No  technical  knowledge  or  added 
expense  necessary.  Sokes  the  problem  of  action 
for  your  subjects.  Each  script  is  an  exciting, 
original  story  with  PLOT.  Group  of  five  widely 
varied  scripts,  each  designed  for  less  than  100 
feet  of  film,  mailed  promptly  upon  receipt  of 
only  $1.00.  HOME  MOVIE  SCREEN  PLAYS, 
944  Little  Bldg.,  Boston.  Mass.  

SILENCED  BELL  &  HOWELL  CAMERA.  LOW 
PRICED  DEBRIE,  AKELEY,  DEVRY,  EYEMO. 
FILMO,  BOLEX  AND  OTHERS.    WE  RENT- 
BUY— SELL  OR  TRADE. 

CAMERA  MART.  INC. 
70  WEST  45TH  STREET,  NEW  YORK  CITY 
FOR  SALE — Rebuilt  silenced  or  high  speed 
Mitchell  camera  with  standard  equipment ;  fac- 
tory guaranteed.  Write  or  wire  Mitchell  Cam- 
era Corporation,  665  North  Robertson  Blvd., 
West  Hollywood,  California.  Cable  address : 
MITCAMCO. 


WANTED 


WE  PAY  CASH  FOR  EVERYTHING  PHOTO- 
GRAPHIC. Write  us  today.  Hollywood  Camera 
Exchange.   1600  Cahuenga  Blvd.,  Hollywood. 


WANTED  TO  BUY  FOR  CASH 
CAMERAS  AND  ACCESSORIES 
MITCHELL,  B  &  H,  EYEMO,  DEBRIE,  AKELEY 
ALSO    LABORATORY    AND    CUTTING  ROOM 
EQUIPMENT 
CAMERA  EQUIPMENT  COMPANY 
1600  BROADWAY,  NEW  YORK  CITY 
CABLE:  CINEQUIP 

WANTED— 2  SILENCED  MITCHELL  CAMERAS 
with  equipment.  Cash  paid. 

CAMERA  EQUIPMENT  COMPANY 
1600  Broadway,  New  York  City 
Cable:  CINEQUIP  Tel.  Circle  6-5080 

WANT  TO  BUY  FOR  CASH 
MITCHELL  CAMERAS  AND  ACCESSORIES 
Write,  wire  or  cable 
MOTION    PICTURE    CAMERA    SUPPLY,  INC. 
723  Seventh  Avenue,  New  York  City 
Cable  Address:  Cinecamera 


CLASSIFIED  ADVERTISING 


AMERICAN 

Cinematographer 

HAND  BOOK  and 
REFERENCE  GUIDE 


SECOND  EDITION 

Written  and  Compiled  by 

JACKSON  J.  ROSE.  A.S.C. 


We  wish  you  to  know  that  ♦  •  ♦ 

The  success  and  complete  sell-out  of  our  previ- 
pus  Hand  Book  and  Reference  Guide  and  numer- 
ous requests  for  additional  copies  have  prompted 
us  in  preparing  for  publication  the  Second  Edition 
of  the  American  Cinematographer  Hand  Book  and 
Reference  Guide. 

This  Hand  Book  is  indorsed  and  recommended 
by  the  leading  cinematogrcrphers  of  Hollywood. 
Full  and  complete  with  the  latest  information  for 
all  types  of  photography.  Professional  35  mm., 
amateur  16  m.m.  and  8  m.m.,  miniature  cameras, 
films,  filters,  lenses,  formulas,  calculators,  color 
systems,  projectors,  make-up,  timers,  film  speeds, 
etc.;  it  is  just  jammed  full  of  the  right  kind  of  infor- 
mation, 200  pages  of  it,  all  of  this  printed  on  the 
very  best  paper  with  a  fine  grain  flexible  cover. 
Pocket  size — the  right  size  that  fits  into  your  pocket. 

...  PRICE  $3.00  ... 


American  Society 
of  Cinematographers 

1782  North  Orange  Drive      Hollywood.  Caliiomia 


COMPLETED  PASSES 


Perfect  projection  of  your 
home  movies  or  stills  de- 
mands a  brilliant-performing 
screen  as  well  as  an  effi- 
cient projector.  The  projec- 
tor throws  the  picture.  But 
unless  the  screen  "completes 
the  pass"  and  shows  each 
view  with  all  of  the  brilliance 
and  detail  your  camera  has 
captured,  projection  does  not 
do  justice  to  your  picture- 
taking  skill. 


DA-IITE  STANOtnO 
CH/tllEHeED 

Can  be  set  up  any- 
where in  15  seconds. 
It  folds  compactly  for 
easy  carrying.  Adjust- 
able in  height.  12  sizes 
from  30"x40"  to  70"x 
94".   From  $15.00  up. 


4 


The  Da-Lite  Glass- 
Beaded  Screen  shows 
each  scene  with  "camera-eye"  fidelity.  It  gives 
brilliance  without  glare — makes  details  sharp 
and  every  shot  life-like  and  real.  Available  in 
many  styles  including  the  famous  Da-Lite  Chal 
lenger,  with  tripod  attached  which  can  be  set  up 
instantly  anywhere.  Prices  range  from  $2.50  up. 
Write  for  literature  and  name  of  nearest  dealer. 


DfeulE 


Reg.  U.  S.  Pat.  Off. 


SCREENS 


DA-LITE  SCREEN  CO.,  INC. 

Manufacturers  of  Theatrical  and  IS  on-Professional 
Screens  with  All  Types  of  Surfaces  and  Mountings 

DEPT.  MAC.  2723  NO.  CRAWFORD  AVE.,  CHICAGO,  ILL. 


Built  for  Service..* 

MITCHELL 

Cameras  and  Recorders 


Designed  and  precision 
built  to  give  long  and 
satisfactory  service* 

Used  hy  leading  film  producers 
throughout  the  world. 

Mitchell  Camera  Corporation 


665    NORTH    ROBERTSON  BOULEVARD 


WEST    HOLLYWOOD,  CALIF. 


Cable  Address  "MITCAMCO" 


Phone  oxford  1051 


AGENCIES 


BELL  &  HOWELL  CO.,  LTD.,  London,  England 
CLAUD  C.  CARTER.  Sydney,  Australia 
D.  NAGASE  &  CO.,  LTD.,  Osaka,  Japan 


MOTION  PICTURE  CAMERA  SUPPLY.  INC.,  New  York  City 
BOMBAY  RADIO  CO..  LTD..  Bombay.  India 
H.  NASSIBIAN,  Cairo.  Egypt 


December 
1938 

25c 

Foreign  3Sc 

iblished  in  Hollywood  by 
American    Society  of 
Cinemalographers 


Eastman  Negative 

Emulsions 

rSE  and  CHAMBERS 
• 

Chiefs  Leshing 

and  Nickolaus 

Disagree  with 

Cameramen 
• 

ling  Jungle  Djukas 

DE  VINNA 
• 

[itchell  Camera's 

Story 

HOKE 
• 

micolor's  Early 

Battles 

KALMUS 
• 

ling  Small  Game 

SPRUNGMAN 
• 

locking  the  Earth 

in  Miniature 

LYFORD 
• 

njecting  Story  Interest 
in  Non-Drama 
TEOREY 


V 


V 


Sharp,  A.S.C,  and  Mathews 
a1  Paramount  Studio 


^  The  excellence  of  Du  Pont 
Superior  Pan  springs  not  from 
a  single  quality.  Rather  it  arises 
from  the  careful  combination 
of  a  great  many  properties, 
proven  to  be  practical  by  six 
years  of  widely  diversified  use. 

For  superb  photography  in 
your  next  production,  rely  on 
Du  Pont  Superior  Pan. 


Du  Pont  Film  Manufacturing  Corporation 


INCORPORATED 


9  Rockefeller  Plaza 

New  York  N.  Y. 

Plant  .  .  Parlin,  N.  J. 


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6656  Santa  Monica  Blvd. 
Hollywood  .  .  .  California 


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gives  it  unmatched  dependability  in  the  strenuous 
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three-lens  turret,  focusing  and  diaphragm  controls 
visible  through  the  spyglass  viewfinder,  inter- 


changeability  of  motors,  standard  S.  M.  P.  E.  sound 
aperture,  and  vibrationless  governor  assuring  accu- 
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rior in  the  field  of  portable  cameras— an  instrument 
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December,  1938    •    American  Cinematographer  485 


AMERICAN 


CINEMATOGRAPHER 


A  Technical  and  Educalioiial  puhliiation 
on  motion  picture  photoRraphy. 
Published  monthly  by  the 

AMERICAN  SOCIETY 

OF  CINEMATOGRAPHERS,  INC. 

1782  North  Oranpre  Drive 

Hollywood  (Los  Angeles),  California 

Telephone  GRanitc  2135 

VICTOR  MILNER,  President. 
FRED  W.  JACKMAN.  Trea.suror. 


Vol.  If) 


Decembor,  19;J8 


No.  12 


Contents 


Eastman    negative    emulsions:  Back- 
ground X,  Plus  X  and  Super  XX.  .  .487 
By  Emery  Huse  and  Gordon  A.  Chambers 

Laboratory  chiefs  disagree  with  camera- 
men  491 

By  Michael  E.  Leshing,  A.S.C.,  and 
John  M.  Nickolaus 

Filming  jungle  Djukas  493 

By  Clyde  De  Vinna,  A.S.C. 

W.  Howard  Greene  wins  October  poll.  .494 

Mitchell  Camera  nears  majority  495 

By  Ira  B.  Hoke 

Shirley's  first  color  lighted  by  B-M's 

Twin  Broads   498 

By  Wilson  Heller 

Kalmus  tells  dramatic  story  of  Techni- 
color 499 

Alton's  photography  praised  in  Buenos 
Aires   .500 

ASC's  Ostober  party  proves  rare  occa- 
sion  ,502 

Ampro  sales  agents  for  Syncro-Sound 
16mm.  pro  503 


The  Front  Cover 


HENRY  SHARP,  A.S.C,  at 
the  Paramount  Studio  be- 
tween scenes  shows  Joyce 
Mathews,  newcomer,  how  these 
giant  cameras  are  worked.  The 
production  is  "Parents  on  Proba- 
tion," in  which  the  young  woman 
has  the  leading  romantic  role,  the 
chief  leads  being  Charles  Ruggles 
and  Mary  B'oland. 

Hal  A.  McAlpin  is  the  stillman 
who  caught  the  exposure.  We  sub- 
mit he  has  done  a  worthy  piece  of 
work.  He  has  brought  to  us  the 
serious  face  of  the  cinematograph- 
er,  bearing  the  marks  of  re.spon- 
sibility  which  are  bound  to  accom- 
pany the  features  of  a  man 
answerable    on    the  photographic 


side  for  a  troupe's  daily  budget 
frequently  mounting  to  many  thou- 
sands of  dollars. 

And  he  has  brought  to  us  the 
eager,  alert,  intelligent  face  of  a 
young  woman  who  is  looking  upon 
something  that  is  new  to  her,  some- 
thing that  thrills  her;  upon  a 
phase  of  life  that  marks  the  dif- 
ference between  play-acting  and 
reality. 

There  is  no  occasion  to  draw 
upon  her  imagination  at  the  in- 
struction of  a  director.  That  imag- 
ination is  stirred  by  the  impressive 
achievements  of  the  noiselessly 
moving  precision  machinery  under 
her  hand. 


The  Staff 


EDITOR 

George  Blaisdell 

WASHINGTON 
STAFF  CORRESPONDENT 

Reed  N.  Haythorne,  A.  S.  C. 

TECHNICAL  EDITOR 

Emery  Huse,  A.  S.  C. 

ADVISORY 
EDITORIAL  BOARD 
Victor  Milner,  A.  S.  C. 
James  Van  Trees,  A.  S.  C. 
Fred  W.  Jackman,  A.  S.  C. 
Farciot  Edouart,  A.  S.  C. 
Fred  Gage,  A.  S.  C. 
Dr.  J.  S.  Watson,  A.  S.  C. 
Dr.  L.  A.  Jones,  A.  S.  C. 
Dr.  C.  E.  K.  Mees,  A.  S.  C. 
Dr.  W.  B.  Rayton.  A.  S.  C. 
Dr.  Herbert  Meyer,  A.  S.  C. 
Dr.  V.  B.  Sease,  A.  S.  C. 

CIRCULATION  MANAGER 

L.  F.  Graham 

NEW  YORK  REPRESENTATIVE 

S.  R.  Cowan.  19  East  47th  St.,  New  York. 
Phone  Plaza  3-0483. 

FOREIGN  REPRESENTATIVE 

Georges  Benoit,  100  AUee  Franklin, 
Pavillions-sous-Bois,  Seine,  France.  Tele- 
phone LeRaincy  13-19. 

AUSTRALIAN  REPRESENTATIVE 

McGill's,  179  Elizabeth  Street,  Melbourne, 
Australian  and  New  Zealand  agents. 

Neither  the  American  Cinematographer  nor 
the  American  Society  of  Cinematographers 
is  responsible  for  statements  made  by  au- 
thors. 


ESTABLISHED  1920.  Advertising  Rates  on  application.  Subscription:  United  States,  $2.50  a  year;  Canada  and  the  Pan-American  Union.  $2.50  a  year; 
foreign,  $.3.50  a  year.  Single  copies,  25  cents;  back  numbers,  30  cents;  foreign,  single  copies,  35  cents;  back  numbers,  40  cents.  COPYRIGHT  1938  by 
American  Society  at  Cinematographers,  Inc. 

Entered  as  second  class  matter  November  18,   1937,  at  the  postoffice  at  Los  Angeles,  California,  under  the  Act  of  March  3,  1879. 


48G     American  (Jink.mato(;kai'iikk 


December,  1938 


Three  NEW 

Eastman  Negative  Emulsions: 

Background  X,  Plus  X,  and  Super  XX 


By  Emery  Huse  and  Gordon  A.  Chambers 


WEST  COAST  LABORATORY  MOTION  PICTURE 
FILM  DEPARTMENT  EASTMAN  KODAK  COMPANY 


T 

_I_HE  history  of  the  develop- 
ment of  the  art  of  making  motion  pic- 
tures is  extremely  interesting,  particu- 
larly so  in  some  of  its  technical  aspects. 
Outstanding  among  these  technical  con- 
siderations is  the  negative  photographic 
emulsion,  which  has  undergone  a  tre- 
mendous change  during  the  past  twenty- 
five  years. 

The  year  1913  marked  the  introduc- 
tion of  panchromatic  motion  picture 
negative  film.  Prior  to -this  time  motion 
picture  films  were  but  two  in  number, 
comprising  a  single  negative  emulsion 
and  a  single  positive  emulsion  on  which 
prints  were  made. 

Generally  speaking,  the  same  type  of 
panchromatic  emulsion  was  manufac- 
tured and  sold  until  1928,  when  the  first 
of  the  motion  picture  series  of  pan- 
chromatic emulsions,  known  as  Type  I, 
was  manufactured  by  the  Eastman  Ko- 
dak Company. 

1928   Turning  Point 

The  year  1928  marked  a  very  definite 
turning  point  in  the  technical  side  of  the 
motion  picture  industry,  because  it  was 
in  that  year  that  the  most  notable  ad- 
vances were  made  which  led  up  to  cur- 
rent practice. 

Aside  from  the  introduction  of  pan- 
chromatic motion  picture  negative  film 
for  general  use,  sound  photography  was 
given  its  first  chance  in  dramatic  pro- 
duction. Likewise,  studio  lighting  began 
its  metamorphosis  from  arc  lamps  to 
mazda  lamps.  Prior  to  1928  there  had 
been  very  little  panchromatic  negative 
film  used. 

The  introduction  of  mazda  lighting 
equipment  at  the  same  time  that  pan- 
chromatic film  was  being  generally  ad- 
vocated provided  an  incentive  toward 
more  complete  use  of  this  type  of  film. 

During  the  year  1928  it  was  found 
necessary  to  make  an  improvement  in 
the  panchromatic  type  of  emulsion  then 
in  use  which  revealed  itself  as  a  faster 


and  somewhat  softer  emulsion.  This  film 
was  known  as  Type  II. 

It  was  not  until  February,  1931,  that 
the  first  radical  departure  was  made  in 
the  panchromatic  negative  emulsion,  for 
it  was  at  that  time  the  first  of  the 
Super-Sensitive  types  of  panchromatic 
film  was  introduced  by  the  Eastman 
Kodak  Company.  This  film  was  known 
to  the  trade  as  Super-Sensitive  Pan- 
chromatic Negative,  and  it  was  adopted 
quite  generally  for  use  in  motion  pic- 
ture production  almost  immediately  after 
its  introduction. 

Photography  Enhanced 

This  Super-Sensitive  type  of  film  was 
materially  faster  and  finer  grained  than 
its  predecessor,  and  for  the  first  time 
it  gave  the  cameraman  a  much  better 
tool  with  which  to  work.  Likewise,  it 
considerably  enhanced  the  quality  of  his 
photographic  endeavors. 

Two  years  after  the  introduction  of 
Super-Sensitive  Panchromatic  Negative 
the  Eastman  Kodak  Company  introduced 
an  entirely  different  type  of  panchro- 
matic emulsion  to  the  motion  picture 
trade. 

July,  1933,  marked  the  first  appear- 
ance of  Eastman  Background  Negative. 
This  emulsion  was  one  of  very  high 
quality  photographically,  resulting  from 
an  extremely  fine  grain  emulsion  struc- 
ture. It  was  approximately  one-half  the 
speed  of  Super-Sensitive  Negative. 

The  purpose  for  its  introduction  was 
to  fill  a  needed  field  in  the  art  of  pro- 
jection background  work,  and  it  was  not 
long  before  this  emulsion  was  generally 
adopted  as  the  medium  on  which  pro- 
jection background  plates  were  photo- 
graphed. Prints  from  these  negatives 
are  projected  on  to  a  background  screen 
in  front  of  which  dramatic  action  is 
photographed  in  a  composite  scene. 

Super  X  Pan  in  19.3.5 

March,  1935,  marked  the  advent  of  a 


new  and  improved  panchromatic  nega- 
tive. This  film  became  known  as  East- 
man Super  X  Panchromatic  Negative 
film.  It  was  somewhat  higher  in  speed 
than  its  predecessor,  Super-Sensitive; 
gave  much  less  graininess  and  provided 
a  marked  improvement  from  the  stand- 
point of  photographic  quality. 

At  the  time  of  this  writing,  over 
three  years  later.  Super  X  Panchromatic 
Negative  is  in  general  use  in  the  motion 
picture  industry. 

However,  on  October  24,  1938,  the 
first  of  another  improved  panchromatic 
motion  picture  negative  film  was  intro- 
duced to  the  motion  picture  trade  under 
the  name  Eastman  Plus  X  Panchromatic 
Negative  film. 

This  film  has  twice  the  speed  of  Super 
X,  finer  grain,  and  similar  developing 
characteristics,  all  lending  themselves  to 
finer  photographic  quality.  It  is  felt 
that  this  film  will  in  a  relatively  short 
time  replace  Super  X  Negative. 

One  week  later  two  other  panchro- 
matic films,  again  quite  different  in  char- 
acteristic, were  introduced.  One  of  them, 
known  as  Background  X,  represented  a 
modified  background  negative  type.  This 
film  has  about  twice  the  speed  of  regular 
Background  negative,  or  approximately 
75  per  cent  of  the  speed  of  Super  X. 

For   Exteriors  Generally 

It  has  less  contrast  than  the  Back- 
ground Negative,  and  approximately  the 
same  grain  characteristics.  It  is  felt 
that  this  emulsion  will  be  adopted  gen- 
erally as  an  exterior  film  for  general 
motion  picture  work. 

The  other  film,  known  as  Eastman 
Super  XX,  is  an  emulsion  of  extremely 
high  speed,  and  with  a  grain  character- 
istic comparable  to  the  Eastman  Super 
X  Negative. 

This  Super  XX  film  has  a  speed  four 
times  that  of  Super  X  Negative,  and 
from  the  standpoint  of  its  speed  this 


December,  1938    •    American  CiNEMATOfiRAPHER  487 


AMKRrcAN  CiNEMATOORAPHER    •    December,  1938 


Background 


Background  X 


1 

Is  ■■■^ 

Super  X 


Plus  X 


Super  XX 


Background 


Background  X 


>UPE.R 


•'-l.-v:<.-'. 


PlusX 


Super  XX 


Figure  8 


Figure  9 


film  may  be  considered  a  special  prod- 
uct from  many  standpoints. 

TECHNICAL  DATA 

A.  Sensitometric  Characteristics. 

A  complete  technical  analysis  of  a 
negative  emulsion  involves  a  study  of 
the  many  sensitometric  characteristics 
among-  which  are  such  items  as  speed, 
contrast,  color  sensitivity,  grain,  etc.  The 
conventional  manner  of  displaying  data 
resulting  from  emulsion  comparison  is 
in  the  form  of  sensitometric  curves. 

To  this  end  exposures  were  made  on 
the  group  of  films  under  discussion  in  an 
Eastman  Type  lib  Sensitometer,  using 
the  conventional  negative  setup. 

These  exposed  films  were  developed 
using  a  negative  developing  solution  of 
the  type  employed  in  motion  picture 
practice  in  a  machine  conforming  gen- 
erally to  the  principles  involved  in  an 
actual  developing  machine. 

Probably  the  best  first-hand  informa- 
tion concerning  these  three  new  Eastman 
emulsions  as  they  line  up  with  respect 
to  the  current  Background  and  Super  X 
Negatives  is  to  study  the  group  of  sen- 


sitometric curves  presented  in  Figures 
1  to  7. 

The  times  of  development  for  which 
curves  are  given  were  times  within  the 
range  where  normal  sensitometric  con- 
trast could  be  obtained.  In  Figures  1 
to  3  there  is  a  direct  comparison  for 
Eastman  Super  X,  Plus  X,  and  Super 
XX  films. 

Gamma  Same  for  Both 

Since  a  gamma  of  0.70  is  considered 
normal,  it  will  be  observed  that,  under 
the  conditions  of  these  tests,  that  gamma 
was  obtained  in  approximately  the  same 
time  for  the  Super  X  and  the  Plus  X, 
namely,  9  minutes. 

For  the  Eastman  Super  XX,  16  min- 
utes was  required.  It  must  be  borne  in 
mind  at  this  point  that  these  times  of 
development  should  be  considered  only 
in  a  comparative  manner,  and  not  as 
actual  developing  times  to  be  used  under 
production  conditions. 

Differences  in  developer  formulas  or 
in  machines  with  their  own  peculiar  agi- 
tating systems  will  alter  to  some  extent 
the  actual  time  values  to  obtain  a  fixed 
gamma.    Likewise  the  ratio  of  develop- 


ing times  between  different  emulsions 
is  subject  to  variation. 

Figure  4  presents  the  time-gamma 
curves  of  these  three  emulsions.  It  will 
be  observed  that  Curve  A  is  drawii  to 
represent  the  time-gamma  characteris- 
tics over  the  range  of  times  studied  for 
both  Super  X  and  Plus  X. 

An  examination  of  the  actual  gamma 
values  obtained  on  Figures  1  and  2  will 
show  negligible  differences  between  these 
two  emulsions,  hence  the  presentation  of 
one  curve  for  both  films.  This  means 
that  practically  identical  developing  con- 
ditions now  in  vogue  for  Super  X  can 
be  applied  to  the  Plus  X  type. 

Super  XX  Characteristics 

Curve  B,  Figure  4,  shows  the  time- 
gamma  characteristic  of  the  Eastman 
Super  XX  emulsion.  This  is  the  emul- 
sion of  extremely  high  speed,  and  as  is 
usual  with  such  high  speed  emulsions 
the  developing  time  factor  to  arrive  at 
a  gamma  of,  let  us  say  0.70,  necessarily 
has  to  be  increased. 

Figures  5  and  6  show  the  sensito- 
metric curves  for  a  series  of  times  of 
development  for  the  Background  and  the 


December,  1938    •    American  Cinematographer  489 


Background  X  Negatives.  Since  the 
Background  X  is  of  inherently  lower 
contrast  than  the  Background,  longer 
times  of  development  were  necessary 
to  produce  the  same  gamma. 

In  practice  Background  Negative  is 
used  at  a  gamma  of  approximately  0.80, 
and  it  will  be  observed  by  study  of  the 
time-gamma  curves  in  Figure  7  that  this 
gamma  is  reached  under  the  condition 
of  these  tests  in  6  minutes  for  the  Back- 
ground Negative,  and  10  minutes  for  the 
Background  X. 

Again  it  should  be  brought  out  that 
these  times  are  relative  and  apply  only 
to  these  tests.  The  relationship  between 
these  emulsions,  therefore,  may  vary 
somewhat  for  other  developer  formulas 
and  machine  conditions. 

B.  Speed 

With  the  accepted  Hurter  and  Driffield 
method  of  sensitometric  analysis,  which 
has  been  described  in  previous  publica- 
tions, it  is  relatively  simple  to  compute 
speed  values  for  various  photographic 
emulsions. 

The  speed  of  a  photographic  emulsion 
depends  upon  several  factors  which  in- 
volve the  type  of  developing  solution, 
type  of  developing  machine,  and  the 
degree  of  agitation  during  development 
in  that  machine.  Therefore,  for  a  group 
of  emulsions  under  test  these  various 
factors  must  be  kept  constant.  It  is  then 
possible  to  make  mathematical  computa- 
tions of  speed  which  can  be  expressed 
in  a  definite  ratio. 

By  applying  the  Hurter  and  Driffield 
procedure  definite  speed  values  have 
been  determined  for  the  new  negative 
emulsions,  as  well  as  for  Background  and 
Super  X  negatives.  The  following  table 
gives  the  ratio  of  speeds  between  these 
various  emulsions  with  Super  X  nega- 
tive expressed  as  100. 

Films  Relative  Speeds 


Background  Negative  35 

Background  X  75 

Super  X  100 

Plus  X  200 

Super  XX  400 


Considerable  interest  has  been  shown 
in  very  recent  years  on  the  estimation 
of  speed  by  photo-electric  exposure 
meters  which  are  now  available  on  the 
market.  The  most  outstanding  of  these 
meters  are  the  Weston  and  General  Elec- 
tric exposure  meters. 

There  is  relatively  little  difference  in 
the  final  results  obtained  with  these  two 
meters  provided  the  meters  themselves 
are  in  good  condition  and  the  user  ap- 
plies some  intelligence  to  his  attempts 
to  use  them. 

Numerous  tests  have  been  made,  and 
it  is  felt  that  the  values  presented  in 
the  following  table  for  both  daylight  and 
tungsten  exposure  conditions  apply 
equally  well  to  the  Weston  and  General 
Electric  meters. 

Film.s  Daylight  Tungsten 


Background  Negative  12  8 

Background  X  24  16 

Super  X  32  20 

Plus  X  64  40 

Super  XX  128  80 


Again  it  must  be  borne  in  mind  that 
these  values  cannot  be  rigidly  applied, 
but  must  be  used  with  an  element  of 
common  sense. 

C.  Color  Sensitivity 

From  the  standpoint  of  color  sensi- 
tivity these  three  new  Eastman  films  are 
fully  panchromatic,  and  while  differing 
slightly  from  Super  X  Negative  in  that 
there  is  somewhat  higher  green  speed, 
they  are  insufficiently  different  to  cause 
a  realignment  in  the  filter  factors  for 
the  various  common  filters  used  in  cine- 
matography. 

Figure  8  shows  the  wedge  specto- 
grams  of  the  three  new  emulsions  to- 
gether with  Background  and  Super  X. 
The  following  table  gives  the  filter  fac- 
tors for  those  filters  most  commonly 
used  in  motion  picture  practice. 

Faters 

Film  Aerol    Aero  2    3N5    5N5    G  23A 

Ha<  kjiround  X  ] 

Plus  X  [  1.25  1.5  4  5      3  1 

Super  XX  ) 

D.  Graininess 

Graininess  differences  between  two 
emulsions  are  often  expressed  on  a  qual- 
ity basis,  that  is,  one  exhibits  more  or 
less  graininess  than  another  in  the  case 
of  two  films  being  compared.  Techni- 
cally these  differences  can  be  shown  by 
photomicrograms  made  from  uniform 
areas  of  silver  deposit  of  the  same 
density  developed  to  the  same  gamma. 

These  photomicrograms  presented  in 
Figure  9  show  the  structure  of  the 
graininess.  Generally,  however,  the  re- 
lationship between  the  graininess  of  any 
two  emulsions  as  revealed  by  the  photo- 
micrograms is  evident  in  the  practical 
tests  as  examined  on  the  screen. 

It  is  interesting  to  note  that  actual 
production  and  experimental  tests  on  the 
various  films  showed  that  the  order  of 
graininess  as  revealed  by  the  photo- 
micrograms is  evident  in  the  picture 
tests. 

In  the  order  of  relative  graininess 
these  various  films  may  be  classified  as 
follows:  Background  Negative,  Back- 
ground X,  Plus  X,  Super  X  and 
Super  XX. 

A  word  of  explanation  is  necessary 
here  because  one  would  expect  that  the 
grain  size  gradually  increased  from  the 
Background  to  the  Super  XX.  Tests 
show  quite  conclusively  that  there  is 
relatively  little,  if  any,  difference  be- 
tween the  Background  and  the  Back- 
ground X. 

The  Plus  X  shows  slightly  more  graini- 
ness than  the  Background  Negatives, 
but  is  definitely  less  than  that  revealed 
by  Super  X. 

On  the  other  hand,  there  is  a  just  per- 
ceptible difference  between  Super  X  and 
Super  XX  with  the  Super  XX  showing 
slightly  more  graininess.  However,  pic- 
ture tests  on  the  screen  have  to  be  ex- 
amined with  extreme  care  to  detect  this 
difference. 

As  a  result  there  are  but  three  degrees 
of  graininess  presented  by  these  five 
films.  The  very  fine  grain  structure  be- 
ing represented  by  the  Background  and 


the  Background  X ;  the  fine  grain  struc- 
ture by  the  Plus  X ;  and  the  normal  grain 
structure  by  the  Super  X  and  Super  XX. 

E.  Development 

It  was  pointed  out  briefly  when  dis- 
cussing the  sensitometric  characteristics 
of  these  various  emulsions  that  develop- 
ment can  play  an  important  role  in  the 
estimation  of  the  value  of  a  negative 
emulsion. 

It  was  shown  by  the  sensitometric 
curves  that  Super  X  and  Plus  X  have 
very  nearly  identical  characteristics  in 
this  respect.  The  Background  X  shows 
an  improved  characteristic  over  the 
Background  Negative  in  that  the  Back- 
ground X  requires  slightly  longer  devel- 
oping time.  The  only  departure  from 
normal  developing  procedure  is  shown 
by  the  Super  XX  film. 

When  it  is  realized  that  the  Super  XX 
is  an  emulsion  of  four  times  the  speed 
of  Super  X  it  is  not  surprising  in  view 
of  current  manufacturing  knowledge 
that  this  emulsion  with  its  high  speed 
should  require  longer  than  normal  de- 
veloping time  when  based  upon  Super  X 
Negative  as  a  standard.  An  increase  in 
developing  time  of  approximately  50  per 
cent  will  take  care  of  the  Super  XX  film. 

F.  Fog 

It  has  often  been  the  rule  rather  than 
the  exception  that  the  faster,  or  more 
sensitive,  an  emulsion  is  the  greater  the 
tendency  toward  increased  development 
fog.  It  is  extremely  interesting  to  note 
in  the  case  of  these  three  new  films  that 
when  compared  with  the  current  films 
they  all  show  less  tendency  to  produce 
chemical  fog  upon  development. 

RECOMMENDATIONS 
This  simultaneous  introduction  of 
three  new  negative  films  by  the  East- 
man Kodak  Company  marks  the  first 
time  in  the  history  of  emulsion  manu- 
facture when  so  many,  and  such  differ- 
ent, negative  materials  were  introduced 
to  the  motion  picture  trade  at  one  time. 

These  three  new  films  are  markedly 
different  from  any  existing  products 
manufactured  by  the  Eastman  Kodak 
Company.  It  is,  therefore,  quite  in  order 
to  offer  some  recommendations  as  to  the 
uses  to  which  these  films  may  be  put 
and  to  give  an  indication  of  the  field 
in  motion  picture  practice  to  which  they 
are  applicable. 

1.  Background  X 

While  this  emulsion  carries  the  same 
general  name  as  Background  film  which 
is  now  in  use  it  is  not  necessarily  in- 
tended that  this  film  completely  replace 
Background  Negative. 

However,  since  there  is  practically  no 
difference  in  the  graininess  character- 
istics of  these  two  emulsions  it  is  prob- 
able that  in  many  instances  Background 
X  will  be  used  in  place  of  the  regular 
Background  Negative.  The  most  out- 
standing reason  for  this  is  its  lower 
contrast  characteristic. 

The  fact  that  Background  X  is  a  faster 
emulsion  than  regular  Background  Neg- 
(Continued  on  Page  523) 


490     American  Cinkmatographer    •    December,  1938 


LAB  CHIEFS 
DISAGREE 
WITH 
CAMERAMEN 


By  Mickael  S,  Leshmg 

Twentieth  Century-Fox  Laboratory 
Editor  American  Cinematographer  : 

With  great  interest  I  read  in  the 
November  issue  of  American  Cinema- 
tographer "What  is  Wrong  With  Present 
Day  Cinematography?"  As  it  is  correctly 
stated  in''that  article,  the  subject  dis- 
cussed is  of  a  vital  importance  to  every- 
one of  us. 

Far  be  it  from  me  to  start  an  argu- 
ment with  present  day  cinematographers, 
but  I,  for  one,  will  not  agree  with  them 
that  cinematographer's  work  of  ten  years 
ago  is  in  any  way  comparable  with  the 
work  of  today.  Sure  enough,  as  at  every 
beginning,  every  step  forward  a  few 
years  ago  was  a  big  step.  You  do  not 
discover  Americas  very  often. 

A  magnificent  brook  in  the  memory  of 
your  childhood  days  becomes  a  very 
muddy  creek  when  you  look  at  it  in  later 
years.  Nevertheless,  the  question  "What 
becomes  of  speed?"  is  here. 

The  laboratory  that  I  have  the  privi- 
lege of  supervising  is  not  a  commercial 
laboratory  and  was  never  pressed  upon 
by  the  powers  that  be  to  cut  down  ex- 
penses. Still  the  fact  remains  that  the 
film  speed  which  is  lost  everywhere  else 
is  also  lost  in  our  laboratory.  Where 
is  it? 

Some  of  the  modern  laboratories  rely 
on  a  test  system;  others  and  ours  rely 
exclusively  on  the  gamma  method  of  de- 
velopment. In  other  words,  we  strive  to 
keep  the  contrast  and  the  density  of  the 
negatives  from  day  to  day  on  an  even 
keel,  by  certain  very  exact,  definite  meas- 
urements. 

This  does  not  exclude  the  fact  we 
always  ask  the  cinematographers  when- 
ever they  are  questioning  the  result, 
to  make  a  test.  After  developing  the  test 
we  handle  their  particular  exposure  ac- 
cordingly. In  other  words,  modern 
laboratories  do  not  exclude  the  possibilitfj 
of  experimenting  by  the  cinematog- 
raphers. 

I  am  quite  sure  that  all  of  the  modern 
laboratories  carry  records  for  the  last 
few  years,  which,  day  in  and  day  out, 
can  tell  the  cinematographer  under  what 


exact  conditions  his  particular  film  was 
developed. 

I  am  certain  that  other  laboratories 
went  through  the  same  experience  as 
mine,  where  from  the  moment  we  quit 
using  Type  2  Panchromatic  Film  up  until 
today  (and  this  is  still  before  we  are 
ready  to  plunge  into  a  new  very  fine 
but  much  faster  film  produced  by  East- 
man Kodak  Company)  we  changed,  on 
four  different  occasions,  our  printing 
room  set-up. 

Today  we  are  printing  (we  are  using 
Bell  &  Howell  printers  with  22  light 
divisions)  several  printer  points  higher 
than  we  did  during  the  usage  of  Type  2. 

The  movement  toward  measurement  of 
the  total  amount  of  light  on  a  set  will 
help  to  find  the  answer  "Who  is  to  blame 
for  the  loss  of  speed  of  film?"  and  I  do 
most  emphatically  state  I  am  personally 
not  interested  in  the  fact  "who  is  to 
blame"  bid  what  should  we  do  to  stop 
the  wasteful  practice  of  not  taking  ad- 
vantage of  the  increased  speed  of  films 
and  improvement  of  lenses. 

I  am  not  in  a  position  to  discuss  other 
parts  of  the  article  "What  is  Wrong 
with  Cinematography?"  but  I  do  hope 
that  discussions  on  the  subject  "Where 
does  the  speed  of  film  go?"  do  not  die 
with  one  or  two  articles  in  the  Cinema- 
tographer. 

The  cinematographer,  the  laboratories, 
the  film  manufacturers  and  last,  but  not 
least,  the  producers  are  vitally  interested 
in  the  improvements  of  the  lenses  and  of 
film  stock. 

October  31,  1938 

▼ 

By  Jolin  Nickolaus 

MGM  Laboratory 
Editor  American  Cinematographer: 

I HAVE  just  read  your  article  in  the 
November  issue  of  American  Cinema- 
tographer  under  the  title  "What's 
Wrong  with  Cinematography?" 

Ordinarily  I  refrain  from  complaining 
about  criticism,  but  rather  enjoy  it  and 
try  and  profit  by  the  criticism,  provided 
it  is  consti'uctive,  but  since  this  article 
is  anything  but  constructive,  I  cannot 


Michael  S.  Leshing 


help  but  ask  WHO  IS  BUILDING 
WHAT  FENCE? 

It  is  a  well  known  fact  throughout  the 
inotion  picture  world  that  the  greatest 
advancement  made  in  motion  picture 
photography  in  recent  years  has  been  in 
the  manufacture  of  raw  stock  and 
laboratory  operation  and  processing,  and 
you  can  imagine  my  surprise  when  I 
read  this  article  to  find  that  the  assem- 
bled cameramen  at  this  particular  meet- 
ing who  have  been  profiting  most  by  this 
advancement  were  not  aware  of  that 
fact. 

You  say  "What  is  wrong?"  Since  you 
have  better  raw  stock,  faster  and  better 
lenses,  better  cameras  and  the  laboratory 
is  certainly  processing  your  film  more 
scientifically  than  ten  years  ago,  still 
you  feel  that  the  work  has  not  progressed 
proportionately.  That  may  be  true  in 
some  pictures,  but  is  not  true  in  our 
better  pictures. 

Statement  Ridiculous 

That  statement,  as  you  put  it,  is 
ridiculous,  and  I  am  sure  most  of  your 
members  know  it  to  be  so.  If  they  do 
not,  all  I  advise  them  to  do  is  to  take 
the  best  picture  made  ten  years  ago  and 
look  at  it  now,  and  then  take  the  picture 
which  this  writer  thinks  is  the  greatest 
piece  of  motion  pictui'e  photography  in 
all  time,  which  was  made  quite  recently, 
namely  "Marie  Antoinette,"  and  then 
honestly  ask  themselves  whether  or  not 
cinematography  has  not  kept  abreast  of 
all  modern  advancement  in  our  art. 

Do  not  misunderstand,  I  merely  sug- 
gest "Marie  Antoinette"  because  in  my 
opinion  it  is  the  outstanding  picture, 
photographically,  of  modern  times,  but 
there  have  been  many  other  very  good 


December,  1938    •    American  Cinematographer  491 


pictures  made  recently  by  your  members 
which  also  will  stand  the  test  against 
the  best  picture  you  can  find  made  ten 
years  ago. 

With  reference  to  your  statement 
about  Mr.  Seitz's  picture  "The  Four 
Horsemen,"  I  agree  that  at  that  time  it 
was  the  greatest  picture,  photograph- 
ically, ever  made,  but  it  would  be  a  very 
good  idea  for  some  of  your  idealistic 
members  to  run  that  picture  and  refresh 
their  memory  as  to  what  photography 
at  that  time  looked  like  compared  with 
today. 

Now  might  I  ask,  why  publish  such 
ridiculous  articles  when  what  I  have 
just  said  is  a  known  fact  to  all  your 
members? 

Asks  Information 

I  am  sure  your  technical  editor  did 
not  read  this  article  before  it  was  pub- 
lished, because  it  was  my  pleasure  and 
privilege  to  have  worked  with  him  on 
all  recent  film  and  laboratory  develop- 
ments, and  certainly  he  understands  the 
facts  to  be  other  than  as  published. 

I  will  briefly  touch  over  another  para- 
graph on  the  so-called  tests  that  some 
of  your  members  have  made  with  minia- 
ture cameras  alongside  moving  picture 
cameras,  and  as  near  as  I  can  get  from 
your  article  some  of  the  film  was  proc- 
essed in  a  regular  laboratory  and  the 
rest  was  processed  by  amateur  finishers, 
using  the  fine  grain  method,  and  that 
the  amateur  finish  showed  an  improve- 
ment in  exposure  values.  Will  you  kindly 
tell  me  in  your  next  article  what  that 
means? 

Then  you  go  further  to  say  it  is  held 
that  the  application  of  fine  grain  minia- 
ture camera  methods  to  motion  picture 
processing  would  open  up  an  important 
new  field  for  photographic  advancement. 
When  you  say  "it  was  held,"  what  do 
you  mean?  By  whom?  And  was  your 
technical  editor  in  on  that  part  of  your 
discussion? 

You  also  say  that  the  technical  repre- 
sentatives of  the  raw  stock  firms  on 
the  other  hand  pointed  out  that  there 
were  commercial  difficulties  in  the  way 
of  adopting  such  methods.  I  doubt  that 
any  technical  representative  of  raw  stock 
companies  would  make  such  a  statement. 
I  am  sure  they  could  tell  you  why,  pho- 
tographically, it  cannot  be  done. 

As  to  Developing  Time 

Your  next  paragraph  comparing  the 
time  of  development  as  now  used  in  most 
modern  laboratories  against  the  fine 
grain  development  is  also  ridiculous,  and 
I  am  sure  that  the  photographic  world 
would  love  to  get  acquainted  with  one  of 
these  tests  your  members  have  made, 
which  shows  a  reduction  in  grain  and 
increased  film  speed.  It  certainly  would 
be  a  great  advancement  to  our  business. 
I  think  you  should  refer  that  to  your 
technical  editor. 

Now  that  we  have  passed  that  part  of 
the  article  that  solves  the  problem  as  to 
what  is  wrong  with  the  laboratory  and 
the  film,  we  find  ourselves  on  Page  457 


with  a  true  confession,  that  apparently 
nothing  is  wrong  with  a  good  cinema- 
tographer  at  all. 

Times  have  changed,  production  has 
been  speeded  up,  the  cameras  are  con- 
tinuously moving,  the  advent  of  sound, 
so  that  your  article  finally  winds  up  with 
one  statement  with  which  I  certainly 
can  agree,  that  in  view  of  all  these  con- 
ditions, as  one  member  summarizes 
things,  is  it  not  more  logical  to  wonder 
why  cinematographers  today  do  as  well 
as  they  do? 

I  trust  you  will  accept  this  letter  in 
the  spirit  in  which  it  is  written,  namely 
to  be  of  help  for  real,  honest  advance- 
ment in  the  art  of  cinematography,  but 
I  still  wonder  why  this  article  was 
published. 

November  19,  1938. 

T 

CHARLES  A.  DANA,  who  in  his 
long  life  was  conceded  to  be  one  of 
the  great  editors  of  the  English- 
speaking  world,  declared  on  one  occasion 
in  response  to  an  irate  reader  who  criti- 
cised him  for  printing  a  story  which  his 
correspondent  insisted  was  offensive  to 
good  taste  besides  being  untrue  or  some- 
thing: 

"Whatever  God  Almighty  permits  to 
happen  is  good  enough  for  The  New 
York  Sun  to  print." 

In  the  story  "What's  Wrong  with 
Cinematography?"  in  the  November 
issue  The  American  Cinematographer 
sought  only  to  record  a  fact  or  series  of 
facts — to  restate  for  the  benefit  of  its 


PROFESSIONAL  Kodachrome  Film 
is  now  available  in  a  type  accu- 
rately balanced  for  daylight  use  in 
a  number  of  popular  sizes  up  to  and 
including  8  by  10  inches. 

Identical  in  faithfulness  of  color  re- 
production with  the  professional  koda- 
chrome film.  Type  B,  recently  announced 
for  studio  use,  the  new  professional 
kodachrome  film,  daylight  type,  extends 
the  advatnages  of  Kodachrome  in  large 
sizes  to  the  professional  and  commer- 
cial photographer  who  wishes  to  make 
direct  color  photographs  out  of  doors. 

Professional  Kodachrome  Film  can  be 
used  in  ordinary  cut  film  holders  and 
may,  therefore,  be  used  in  any  camera 
accepting  such  holders.  Any  good  an- 
astigmat  lens  properly  corrected  for 
transverse  and  axial  chromatic  aberra- 
tion —  briefly,  any  lens  which  gives 
critically  sharp  definition  everywhere  in 
the  field  for  panchromatic  film — may  be 
used  satisfactorily. 

When  professional  kodachrome  film, 
daylight  type,  is  used  in  sunlight  or  light 


readers  what  was  uttered  on  the  occasion 
in  question. 

While  its  editor  did  not  personally 
write  the  story  complained  of  he  was 
present  at  the  meeting,  knew  it  was  a 
reasonably  faithful  record  of  what 
occurred,  and  therefore,  in  the  language 
of  Charles  A.  Dana,  God  Almighty  had 
permitted  it  to  happen. 

He  believed  then  it  was  news.  Now 
he  knows  it  was. 

The  editor  yields  to  no  man  in  the  sum 
of  his  respect,  his  profound  respect,  for 
the  ability  and  the  character  of  the  tech- 
nical editor  of  this  magazine. 

Mr.  Nickolaus  errs  in  his  assumption 
that  the  present  instance  was  one  in 
which  the  editor  might  have  imposed 
upon  the  time  and  good  nature  of  the 
technical  editor  for  a  consultation  re- 
garding the  report  of  the  meeting. 

What  had  been  done  was  water  under 
the  bridge.  No  human  agency  could  re- 
turn it  to  its  source. 

If  a  member  of  the  A.S.C.  as  a  result 
of  twenty  years  or  more  around  a  camera 
declares  that  so  and  so  is  the  case  the 
editor  will  defend  that  member's  right 
to  a  day  in  court,  to  have  his  say,  just 
as  he  will  defend  the  right  of  Mr.  Nick- 
olaus to  insist  the  statement  is  ridiculous, 
as  he  does  employ  that  expression  several 
times;  the  right  of  our  mellow  and 
candid  but  never  caustic  or  choleric  cor- 
respondent to  say  his  say  without  the 
alteration  of  a  letter. 

We  welcome  the  letter  of  Mr.  Nicko- 
laus as  we  did  that  of  Mr.  Leshing.  The 
gate  is  wide  open  and  no  studio  cop 
stands  by.   The  forum  invites. — Ed. 


of  equivalent  color  temperature,  no  filter 
is  required.  Full  color  transparencies 
are  taken  with  a  single  brief  exposure. 

For  this  film,  a  Weston  rating  of  5 
is  recommended,  and  the  average  expos- 
ure in  sunlight  for  an  average  subject 
is  1/25  second  at  f.6..3. 

While  the  color  balance  of  professional 
kodachrome  film,  daylight  type,  is  ad- 
justed to  produce  correct  rendering  with 
average  noon  sunlight,  without  a  filter, 
certain  filters  may  be  employed  to  com- 
pensate for  variations  in  daylight  color 
with  different  conditions  of  weather  or 
subject. 

Need  for  compensation  may  arise,  for 
example,  when  a  subject  is  photographed 
in  open  shade,  the  sky  then  providing 
the  chief  illumination,  at  a  color  tem- 
perature higher  than  that  of  direct  sun- 
light. 

Sizes  in  which  professional  koda- 
chrome film,  daylight  type,  is  now  avail- 
able are  2M  by  SVi  inches,  6.5  by  9  cm., 
9  by  12  cm.,  SM  by  4^/4  inches,  4  by  5 
inches,  5  by  7  inches  and  8  by  10  inches. 


Eastman  Issues  Professional  Koda^ 
chrome  Film  Up  to  8  by  10  Inches 


492     American  Cinematogkapher    •    December,  1938 


FILMING 
JUNGLE 

DTUKA 


k  Clyde  De  Vinna^  A,S.C, 


Clyde  De  Vinna,  A.S.C.,  in  the  Djuka  bush  village  in  the 
Dtitch  Guiana  jungles,  films  natives  for  a  scene  that  later 
was  duplicated  by  MGM  at  its  studios  for  "Too  Hot  to 
Handle."  At  extreme  left  is  Director  Richard  Rosson. 


WHEN  studio  officials  told  me  I 
was  to  go  to  South  America  to 
film  a  little  known  tribe  of 
negroes  for  M-G-M's  "Too  Hot  to  Han- 
dle," I  was  amazed.  Not  at  being  sent 
thousands  of  miles  on  a  few  hours'  no- 
tice— I've  had  too  many  globe  trotting 
assignments  to  be  surprised  at  another 
— but  at  the  idea  of  finding  virtually 
wild  Africans  in  the  New  World.  Indians 
— yes!  Gauchos — yes!  But  certainly  not 
African  tribesmen  in  South  America! 

But  the  fact  of  the  matter  is  that  I 
did  go  down  to  Dutch  Guiana  and  film 
a  tribe  of  Africans  as  primitive  as  any- 
thing I  met  in  Africa  itself.  They  are 
known  as  the  Djukas,  and  they  are  genu- 
ine Africans,  transplated,  customs  and 
all,  from  the  land  of  "Trader  Horn." 

For  pictorial  eff^ects  and  sensational 
customs,  they  really  outdo  any  of  their 
cousins  in  the  dark  continent.  In  fact, 
some  of  their  tribal  ceremonies  outdo 
anything  I've  seen  or  filmed  in  any  part 
of  the  world. 

But  more  of  that  later. 
Our  trip  really  began  in  Panama, 
where  we  chartered  a  plane  in  which  we 
flew  to  Pariniaribo,  Dutch  Guiana.  This 
we  discovered  to  be  a  fairly  modern 
little  city  with  a  polyglot  population 
competed  of  a  relatively  small  propor- 
tion oi'  Dutchmen  and  an  incredibly 
mixed  conglomeration  of  Javanese,  Cey- 
lonese.  Chinese  and  Hindus.  Like  so 
many  of  the  other  distant  cities  I've 
visited,  they  are  ardent  moviegoers. 

Juliet  Still  Strong 

When  we  landed,  the  current  favorite 
was  "Romeo  and  Juliet,"  which  was 
playing  its  fifteenth  or  sixteenth  return 
engagement,  literally  by  popular  de- 
mand. Among  other  favorites  which  had 
been  shown  and  re-shown  were  "Trader 
Horn"  and  "White  Shadows  of  the  South 
Seas" — which  made  it  very  pleasant  for 
me  as  soon  as  it  was  learned  I  had 
filmed  both  of  them. 

Director  Richard  Rosson  and  I  learned 
soon  enough  that  the  Djukas  were  a  very 


real  people.  They  are,  so  the  officials 
told  us,  literally  transplanted  Africans, 
the  descendants  of  runaway  slaves  from 
the  great  sugar  plantations  which,  three- 
quarters  of  a  century  ago,  were  worked 
by  negro  slaves. 

Later,  with  the  abolition  of  slavery, 
many  of  the  freed  slaves  joined  their 
runaway  fellows  and  set  up  what  to  all 
intents  and  purposes  is  a  miniature 
African  tribal  world  among  the  Surinam 
jungles.  In  almost  every  way  they  have 
reverted  to  old  native  ways  of  living. 

They  are,  oddly  enough,  the  most  in- 
dependent tribesmen  I  have  ever  en- 
countered. Though  they  occasionally  put 
in  a  few  weeks'  work  for  the  white  man, 
to  avail  themselves  of  such  civilized 
products  as  readymade  rope,  knives 
and  gaudy  clothes,  they  are  quite  inde- 
pendent of  the  white  civilization.  In 
fact,  they  feel  themselves  rather  su- 
perior to  it. 

Thus  while  purely  official  contacts 
were,  as  always,  helpful  in  our  work, 
they  could  do  little  to  open  the  doors  of 
the  Djuka  village  to  us.  For  that  we 
had  to  rely  upon  white  civilians  who  en- 
joyed the  confidence  of  the  negro  head- 
men. 

Tribesmen  Helpful 

When  this  was  gained  we  found  the 
tribesmen  cooperative,  indeed.  Unlike  so 
many  primitive  tribes,  they  knew  what 
movies  and  cameras  meant,  and  had  no 
objection  to  being  photographed. 

On  the  other  hand,  they  weren't  at  all 
sure  they  liked  to  have  us  make  records 
of  their  tribal  songs  and  chants.  Douglas 
Shearer,  A.  S.  C.,  head  of  M-G-M's  sound 
department,  had  provided  us  with  a  port- 
able recorder  with  which  to  make  disc 
records  of  these  sounds,  for  use  in  the 
picture.  Our  first  few  records  were 
highly  successful  for  we  played  them 
back  to  a  delighted  audience  of  tribes- 
men. 

But  the  weather  was  what  one  might 
expect  in  a  land  only  a  few  degrees  from 
the  Equator,   and  there   came   a  time 


when  we  dared  not  play  back  our  wax 
discs,  which  were  softening  dangerously 
under  the  heat.  Then  the  black  musi- 
cians went  on  strike!  "If  you  take  our 
music  away,"  they  protested,  "we  won't 
be  able  to  sing  any  more.  Play  it  for  us 
or  we  won't  do  any  more  for  you!" 
Doug  still  thinks  I  double-crossed  him, 
playing  back  those  soft  wax  discs! 

Getting  to  our  location  was  a  study  in 
contrasts.  Making  the  journey  from 
Pariniaribo  by  boat  and  cart — the  usual 
manner — was  a  hard  half-day's  journey. 
We  did  it  by  plane  in  a  dozen  minutes. 
Dropping  into  this  most  primitive  of 
villages  in  one  of  America's  most  mod- 
ern aircraft  always  seemed  an  amazing 
contradiction. 

Rain  Each  Day 

Incidentally,  the  plane,  more  than  any- 
thing else,  impressed  the  natives.  They 
clustered  round  it  when  it  was  moored 
in  the  river,  examining  it,  touching  its 
wings  as  awe-stricken  as  we  would  be 
over  a  space-ship  dropped  in  from  Mars. 

As  a  matter  of  courtesy,  we  took  the 
head  man  of  the  village  for  a  short 
flight;  all  through  it  he  clung  to  his 
seat  in  terror.  I  never  saw  a  man  more 
delighted  to  return  both  feet  to  firm 
ground! 

Despite  the  tropical  weather  condi- 
tions, we  found  things  ideal  for  filming. 
That  is,  for  tropical  filming,  for  of 
course  we  had  always  to  be  on  guard 
against  the  combination  of  heat  and 
moisture,  with  its  everpresent  danger  of 
mildewed  film  and  clothing. 

During  the  six  weeks  we  spent  in 
Guiana,  it  rained  at  least  once  every  day. 
But  between  showers  we  were  blessed 
with  clear  skies  and  gorgeous  clouds  to 
gladden  the  heart  of  any  photographer. 

We  had  to  use  the  usual  number  of 
location  makeshifts.  Most  spectacular, 
perhaps,  was  our  arboreal  camera  par- 
allel. Needing  several  shots  from  really 
high  viewpoints,  we  adapted  a  tree  to 
our  purposes.  Even  in  the  Surinam 
(Continued  on  Page  501) 


December,  1938 


American  Cinematographer  493 


HOWARD  GREENE 
AWARDED 
PHOTOGRAPHIC 
HONORS  FOR 
OCTOBER 


PHOTOGRAPHIC  honors  for  October 
at  the  hands  of  the  Hollywood  Re- 
porter poll  fall  to  W.  Howard 
Greene,  A.S.C.,  for  Paramount's  "Men 
with  Wings."  It  was  in  Technicolor,  as 
the  name  of  the  cinematographer  implies. 
It  may  here  be  remarked  that  "Duke" 
Greene  has  been  with  Technicolor  since 
1917,  with  the  exception  of  one  period. 
That  was  the  World  War,  but  the  affilia- 
tion was  resumed  at  the  close  of  that 
conflict  and  has  continued  without  in- 
terruption. 

The  photographer's  first  picture  in 
color  was  in  Florida  in  1917,  "The  Gulf 
Between,"  with  Grace  Darmond  and  Niles 
Welch  in  the  leads.  It  was  a  Technicolor 
subject,  too,  and  the  first  of  a  long  line. 

Dr.  Herbert  T.  Kalmus,  president  of 
the  company,  told  the  delegates  to  the 
recent  convention  of  the  Society  of  Mo- 
tion Picture  Engineers  in  Detroit  about 
the  making  of  that  subject.  On  it  was 
employed  the  company's  first  laboratory 
— in  a  railway  car,  to  be  exact,  and  very 
likely  the  first  motion  picture  laboratory 
ever  created  to  run  on  wheels  on  rail- 
way tracks. 

A  Lot  for  1917 

This  lab  did  just  that.  It  was  moved 
from  Boston  to  Jacksonville.  The  equip- 
ment was  as  complete  as  it  was  possible 
to  make  it.  There  were  darkrooms,  fire- 
proof safes,  power  plant,  offices  and  all 
the  machinery  and  apparatus  necessary 
for  continuously  carrying  on  the  follow- 
ing processes  on  a  small  commercial 
scale: 

Sensitizing,  testing,  perforating,  de- 
veloping, washing,  fixing  and  drying- 
negative;  printing,  developing,  washing, 
fixing  and  drying  positive;  washing  and 
conditioning  air;  filtering  and  cooling 
wash  water;  examining  and  splicing  film 
and  making  control  measurements  and 
tests. 

One  of  the  notable  characteristics  of 
the  picture  business — and  the  amusement 
industry  generally,  for  that  matter— is 
total  unconcern  as  to  what  was  the  first 
picture  you  made.  Rather  it  is  Just  what 
are  some  of  your  recent  pictures? 


Facing  an  interrogation  of  that  sort 
Duke  Greene  would  have  to  reply  some- 
thing like  this:  "Garden  of  Allah,"  "A 
Star  Is  Born,"  "Trail  of  the  Lonesome 
Pine,"  "Nothing  Sacred,"  "Robin  Hood," 
"Men  with  Wings"  and  "Jesse  James." 
Yes,  and  the  color  sequence  in  MGM's 
"Ice  Follies." 

Even  if  the  last  named  be  unreleased 
it  is  no  breach  of  faith  to  suggest  that 
when  it  reaches  the  screen  we  are  going 
to  see  skating  scenes  that  will  be  easy 
to  look  at.  Basing  that  preceding  remark 
on  a  squint  at  a  couple  four-frame  film 
cutouts  of  the  aforesaid  scenes  we  can 
promise  sequences  that  will  be  well  worth 
walking  a  mile  to  see. 

Has  Traveled  Much 

Not  all  of  Duke  Green's  experience 
has  been  in  color  film.  There  was  some 
work  in  black  and  white  before  trans- 
ferring to  color,  but  since  that  time  ex- 
cept for  a  few  tests  there  has  been  little 
doing  that  was  not  in  color. 

In  the  course  of  the  last  two  decades 
the  cameraman  has  traveled  a  bit  about 
the  world.  In  1920  he  went  to  Rome  to 
photograph  the  color  sequences  of  "The 
Four  Horsemen,"  from  the  story  the 
industry  damned  as  absolutely  untrans- 
latable to  the  screen — and  then  instead 
of  proving  a  flop  became  one  of  the 
screen's  great  moneymakers. 

Proved  Moneymaker 

The  picture  made  so  much  money  that 
because  of  it  Marcus  Loew  changed  his 
mind  about  quitting  all  production  inter- 
ests and  sticking  solely  to  exhibition. 
Incidentally  Loew  remained  in  the  pro- 
duction business  until  his  death. 

Then  there  was  a  trip  to  Bali  with 
Henri  De  Falaise  making  "Legong";  to 
the  West  Indies  for  an  underwater  pic- 
ture for  MGM,  "The  Uninvited  Guest"; 
another  trip  to  the  South  to  make  "The 
Mysterious  Island,"  but  a  hurricane  in- 
terrupted and  the  finish  was  not,  and 
another  trip  with  De  Falaise  to  Indo 
China  in  "Cleo." 

While  he  concedes  life  is  much 
smoother  for  the  cameraman  who  shoots 


ir.  Hoivard  Greene 


interiors  Duke  Greene  confides  a  fond- 
ness for  exteriors — with  their  great 
possibilities  especially  in  color  for  scenic 
splendor.  To  have  access  to  these  it  is 
worth  fighting  the  elements  and  all  the 
ramifications  that  flow  from  them  when 
they  really  start  to  jam  up  a  camera 
crew. 

The  honors  to  Greene  were  contested 
by  partisans  for  the  "Suez"  of  Peverell 
Marley,  A.S.C.,  a  Twentieth  Century-Fox 
subject,  which  was  given  second  rating 
photographically,  and  for  the  "Sisters" 
of  Tony  Gaudio,  a  Warner  Brothers' 
picture. 

The  picture  declared  the  best  produc- 
tion, MGM's  British  made  "Citadel."  was 
photographed  by  Harry  Stradling,  A.S.C. 


Process  Raises  Its  Stock 

Capitalization  to  $300,000 

As  of  November  10,  1938,  permission 
was  granted  by  the  secretary  of  state  of 
California  on  application  made  by  the 
directors  and  stockholders,  John  Gentile, 
president;  Mario  Castegnaro,  vice-presi- 
dent and  treasurer,  and  Mrs.  Bertha 
Castegnaro,  secretary,  of  the  Motion  Pic- 
tures Process  Corporation  to  increase  its 
capitalization  from  $2.5,000  to  $300,000. 

At  the  regular  October  meeting  the 
board  of  directors  decided  that  the  ac- 
tivities of  the  corporation  be  extended 
in  view  of  its  splendid  results  since  the 
beginning  of  its  operation  July  1,  1938. 
The  approval  was  also  given  for  an  ex- 
tensive campaign  to  fully  develop  the 
commercial  department. 


"Bumper"  for  Spectacles 

The  Filmo  141  movie  camera  recently 
announced  by  Bell  &  Howell  has  a  spy- 
glass type  viewfinder  provided  with  a 
special  soft-rubber  "bumper"  which  pre- 
vents spectacles  from  coming  in  contact 
with  the  harder  camera  material. 


494     American  Cinematographer    •    December,  1938 


MITCHELL 
CAMERA 

NEAR^ 
MAJORITY 

By  IRA  B,  HOKE 


standard  Model  Sound  Model  Studio  Model 

Three  examples  of  the  Mitchell  Camer-a  of  today 


NINETEEN  years  ago  in  an  un- 
pretentious machine  shop  on 
Santa  Monica  boulevard,  in  the 
heart  of  the  motion  picture  world,  there 
came  quietly  into  being  a  small  machine 
built  by  a  master  mechanic  that  was 
destined  to  revolutionize  the  art  of 
moving  picture  photography  around  the 
world. 

It  was  called  the  Mitchell  camera 
after  its  builder,  George  A.  Mitchell, 
who  perfected  plans  from  the  original 
patents  of  John  E.  Leonard.  The  germ 
of  the  idea  that  was  to  change  the  entire 
field  of  cinema  photography  was  in  itself 
simple,  as  are  all  truly  great  ideas. 

Up  to  the  advent  of  the  Mitchell  cam- 
era a  serious  problem  always  had  con- 
fronted designers  and  cameramen;  that 
of  being  able  to  focus  the  image  on 
ground  glass  behind  the  photographing- 
lens. 

Various  methods  were  in  use,  many  of 


which  involved  the  fogging  of  one  or 
two  feet  of  film  stock  each  time  a  ground 
glass  was  inserted  in  place  of  the  film 
pressure  gate. 

The  Leonard  idea  was  to  move  by  rack 
and  pinion  the  entire  film  movement, 
camera,  and  magazine  in  one  unit  far 
enough  to  the  right  of  the  lens  to  bring 
into  position  a  magnifying  eyepiece 
which  carried  within  itself  a  ground 
glass  which  fitted  exactly  the  photo- 
graphing aperture  and  focal  plane. 

Thus,  with  a  simple  twist  of  the  wrist, 
the  lens  could  be  focused  either  upon 
ground  glass  or  film;  no  time  was  lost, 
and  no  film  wasted. 

Four  More  Changes 

Other  less  vital  but  nevertheless  im- 
portant structural  changes  were  also 
embodied  in  the  new  camera.  Briefly 
these  were: 

A  set  of  four-way  matts  built  into  the 


lens  supporting  frame  and  operated 
from  the  outside  by  control  buttons. 

An  internal  iris  behind  the  lens,  full 
floating  in  such  a  manner  that  it  could 
be  brought  into  position  anywhere  on  the 
aperture. 

A  large  turret  disc  in  which  eight  fil- 
ters or  special  matts  could  be  inserted 
and  brought  into  position  behind  the  lens 
instantly. 

An  entirely  unique  tripod  that  might 
be  adjusted  for  height,  in  trombone 
fashion  by  one  hand,  and  locked  in  posi- 
tion by  large  knurled  knobs. 

The  camera  won  instant  recognition 
from  cinematographers  and  film  pro- 
ducers in  Hollywood.  Within  an  aston- 
ishingly short  time  its  fame  had  become 
worldwide,  and  increased  production  de- 
mands necessitated  a  more  completely 
equipped  factory.  Today  there  is  no 
country  in  which  the  Mitchell  camera  is 
a  stranger  to  those  who  make  moving 
pictures,  either  in  the  commercial  or 
dramatic  field. 

Improvements  in  design  were  made 
constantly  to  keep  pace  with  the  chang- 
ing requirements  of  the  industry.  First 
among  these  radical  improvements  was 
the  construction  of  a  high  speed  film 
movement  and  registering  mechanism. 
This  operated  with  cams,  had  four  pull- 
down fingers  and  two  register  pins.  It 
was  capable  of  handling  film  at  all 
speeds  from  1  picture  to  128  pictures  a 
second. 

Redesign  Standard 

This  movement  when  incorporated  in 
the  "Standard"  Model  made  not  only  an 
ideal  means  of  photographing  slow  mo- 
tion scenes  but  when  operated  at  normal 
speed  caused  the  camera  to  run  with 
astonishing  silence. 

So  it  was  that  when  in  1927  the  major 
studios  of  Hollywood  suddenly  became 


Two  vieivs  of  Mitchell  Background 
Projector. 


December,  1938    •    American  Cinematographer  495 


I 


talking  picture  conscious,  the  Mitchell 
camera  was  their  first  thought  in  quiet 
operation.  The  speed  movement,  while  a 
major  step,  was  not  by  any  means  a 
solution  of  the  problem. 

The  first  move  made  was  to  redesign 
the  Standard  Model,  eliminating  ball 
bearings  in  favor  of  the  oilless  or  sleeve 
type.  Each  alternate  gear  was  then 
changed  to  bakelite.  The  resulting  cam- 
era, while  far  more  silent  than  its  prede- 
cessor, left  much  to  be  desired  as  in  most 
sound  scenes  on  closed  stages  a  blimp 
was  necessary  to  deaden  motor  hum  and 
magazine  noise. 

It  was,  however,  a  step  forward,  as  it 
eliminated  the  necessity  for  clumsy,  un- 
healthy camera  booths,  which  in  the 
early  days  of  sound  inclosed  not  only  the 
camera  but  the  operator  as  well. 

Encouraged,  the  company  set  the  en- 
tire engineering  department  of  its  big 
new  plant  in  West  Hollywood,  where  in- 
creased expansion  had  made  necessary 
a  move  of  quarters  in  June,  1929,  upon 
the  problem  of  a  still  more  silent 
camera. 


Studio  Model  Mitchell  Camera  showing 
(left)  single  lens  and  (right)  from  oper- 
ator's position. 


In  1932  was  introduced  the  Sound 
Model  Mitchell.  It  was  a  success  from 
the  first,  and  to  date  there  have  been 
sold  nearly  150  instruments.  Similar  in 
outward  appearance  to  the  Standard 
Model,  it  employs  a  diff"erent  method  of 
drive  and  a  revolutionary  film  move- 
ment, which  latter  employs  eccentrics  in 
place  of  cams. 

Positive  Register 

The  pull-down  arm  has  two  fingers  on 
each  side,  thus  engaging  four  perfora- 
tions simultaneously.  The  pull-down 
fingers  and  the  register  pins  overlap,  one 
entering  before  the  other  disengages.  It 
is  swift,  silent,  and  assures  positive 
register. 

The  drive  is  direct  to  the  movement, 
which  in  turn  drives  the  shutter  shaft 
through  helical  gears.  The  shutter  shaft 
is  used  to  drive,  by  means  of  a  silent 
worm  gear,  the  sprocket  and  magazine 


take-up.  The  various  moving  parts  of 
the  camera  are  thus  operated  with  a 
fewer  number  of  gears,  and  the  noise 
reduced  to  an  astonishing  minimum. 

Incorporated  in  the  camera  is  the 
Mitchell  "buckle  trip"  which  automati- 
cally stops  the  motor  in  case  of  a  buckle 
or  faulty  magazine  take-up. 

A  special  door  is  furnished  with  the 
camera  which  allows  the  variable  speed 
Mitchell  motor  to  be  used  on  "wild" 
shots,  but  for  studio  or  sound  use  the 
interlocking  type  or  synchronous  motor 
is  mounted  in  a  sound-proof  housing 
which  fits  directly  on  the  right  side  of 
the  camera. 

F'or  the  usual  scene  this  model  is  suf- 
ficiently silent  to  warrant  its  use  without 
added  covering,  but  on  close-ups  in 
closed  sound  stages  it  is  found  necessary 
to  use  lightweight  blimps,  not  to  elimi- 
nate camera  noise,  but  to  overcome  the 
ground  hum  of  motor  and  accessories. 

With  the  elimination  of  these  fine 
points  of  unnecessary  noise  in  view,  the 
engineering  department  continued  its 
(Continued  on  Page  522) 


49G     American  Cinkmatographer    •    December,  1938 


Three  Outstanding 

NEW  FILMS 


EASTMAN  announces  three  important  new 
negative  films  for  the  professional  motion  pic- 
ture field. ...  P/iis-X ;  fast,  fine-grained.  Unsur- 
passed for  general  studio  work. . . .  Super-XX : 
super-speed,  surprisingly  small  grain.  For  diffi- 
cult newsreel  shots,  or  for  use  wherever  ex- 
posure is  a  problem. . . .  Background-X :  ultra- 
fine  grain,  ample  speed.  For  backgrounds.  Also 
excellent  for  all-round  exterior  work. . . .  These 
films  not  only  make  dramatic  advances  along 
their  particular  lines,  but  offer  the  high  relia- 
bility and  photographic  quality  typical  of 
Eastman  sensitized  materials.  Eastman  Kodak 
Company,  Rochester,  N.  Y.  (J.  E.  Brulatour, 
Inc.,  Distributors,  Fort  Lee,  Chicago,  Hollywood.) 


E ASTM AX  Plus-X ... 
Super-XX ...  Background-X 

December,  1938    •    American  Cinematographer  497 


Shirley  Temple  in  her  first  Technicolor  picture,  20th  Century-Fox's  "The  Little  Princess,"  lighted  by  B-M's  new  Twin  Broads. 
Artlmr  Miller,   A.S.C.,  directing  photography,  as  he  always  does  in  Shirley's  pictures. 


SHIRLEY'S 
FIRST  COLOR 
LIGHTED  BY 
B.M^s  TWIN 
BROADS 

By  WILSON  HELLER 


I WONDER  if  you  can  name  the 
"seven  mules"  who  were  so  instru- 
mental in  making  the  immortal 
"F'our  Horsemen  of  Notre  Dame"  the 
greatest  football  team  of  modern  times? 

Of  course  you  can't,  but  you  do  recall 
that  the  backfield  was  composed  of 
Miller,  Layden,  Stuhldreher  and  Crow- 
ley, for  they  are  the  boys  whose  names 
made  the  headlines  back  in  1924.  They 


were  the  front  men  for  the  team-ball 
packers  and  backfield  blockers.  Yet  their 
names  would  have  been  mud  if  the  seven 
mules  in  front  of  them  had  not  opened 
up  the  holes  through  which  their  offense 
galloped. 

Football  may  be  a  long  cry  from  mo- 
tion pictures,  but  a  somewhat  similar 
situation  is  true  in  every  studio  in  the 
world.     Men  and  women  who  actually 


appear  on  the  screen  are  hailed  for  their 
accomplishments,  as  are  the  writers  and 
directors,  but  little  is  heard  of  the  tech- 
nicians who  figuratively  are  the  "seven 
mules"  of  production,  who  make  the 
holes  through  which  the  stars  are  poured 
to  glory. 

No  industry  in  our  annals  has  made 
the  rapid  strides  recorded  by  the  films. 
Only  a  few  years  ago  an  industry  with 
little  or  no  standing,  an  unaccepted  art, 
pictures  today  stand  as  the  foremost 
of  all  amusements. 

Certainly  the  glamorous  figures  who 
catch  public  fancy  and  bring  people  into 
the  box  office  deserve  all  the  credit  they 
can  get.  Yet  technicians  who  handle  the 
cameras,  the  sound  equipment  and  who 
produce  the  lights  that  bring  out  the 
best  in  the  glamorous  ones'  looks  are 
also  deserving  of  a  full  measure  of 
credit  as  well. 

Shirley  in  Color 

Color  experts  have  done  wonders  for 
pictures  in  the  last  two  years.  Techni- 
color, for  example,  has  progressed  to  a 
point  where  more  color  pictures  than 
ever  before  are  now  being  filmed  by 
leading  studios.  Twentieth  Century-Fox, 
for  instance,  has  just  produced  three  of 
its  greatest  products  of  the  season  in 
Technicolor,  "Jesse  James,"  "Kentucky" 
and  "The  Little  Princess,"  the  latter 
Shirley  Temple's  first  appearance  in  a 
color  picture. 

Walter  Lang  directed  this  production, 
with  Arthur  Miller,  A.S.C.,  in  charge  of 
the  camera  and  E.  Clayton  Ward  han- 
dling the  sound. 

Technicolor  has  met  and  overcome 
some  ticklish  obstacles,  but  one  of  the 
biggest  steps  forward  was  made  in  this 
(Continued  on  Page  52i) 


498     American  Cinematographer    •    December,  1938 


KALMUS  TELLS  DRAMATIC 
STORY  OF  TECHNICOLOR 


AT  THE  convention  of  the  Society 
of  Motion  Picture  Engineers  in 
Detroit  early  in  November  Dr. 
Herbert  T.  Kalmus,  president  of  Techni- 
color, in  a  formal  address  told  of  the  in- 
ception and  development  of  that  com- 
pany. It  was  a  dramatic  recital  of  a 
really  great  achievement.  Less  than  that 
it  cannot  be  when  one  group  succeeds  in 
a  field  where  all  predecessors  had  failed. 

The  address  as  prepared  consists  of 
about  ten  thousand  words.  It  is  a  con- 
tribution of  inajor  importance  to  the 
record  of  the  motion  picture  industry. 
Incidentally  there  is  a  suggestion  the 
paper  may  be  a  fitting  preliminary  to  a 
more  ambitious  document  the  Doctor  has 
been  asked  to  prepare,  z'eviewing  the 
progress  of  color  cinematography  over 
the  past  quarter  of  a  century,  with  spe- 
cial reference  to  the  contributions  of 
Technicolor. 

Inasmuch  as  Doctor  Kalmus  has  been 
a  part  of  Technicolor  since  its  beginning 
he  is  the  one  person  to  undertake  that 
task. 

The  first  picture  to  be  photographed 
in  Technicolor  was  produced  in  Florida 
twenty-one  years  ago,  in  1917.  In  1937 
the  company  shipped  over  350  subjects 
including  more  than  20  features  for 
some  50  different  customers. 

After  two  plants  had  been  completed 
in  Boston  a  company  came  to  Hollywood 
in  the  spring  of  1923  to  establish  a 
small  laboratory  and  photogi-aphic  unit 
in  Hollywood.  In  another  year  a  small 
plant  had  been  erected  in  North  Cole 
avenue.  In  the  fall  of  the  same  year  six 
men  and  four  camei'as  were  in  Rome 
working  cn  MGM's  "Ben  Hur." 

In  1927  a  series  of  Technicolor  shorts, 
released  by  Metro,  pi-oved  a  hit  and  es- 
tablished the  drawing  power  of  color  in 
films.  Doctor  Kalmus  makes  a  signifi- 
cant statement: 

"In  my  opinion  Technicolor  would  not 
have  survived  without  the  experience 
of  this  series  of  short  subjects." 

Warners  Break  Ice 

To  Wamer  Brothers  the  Doctor  gives 
credit  for  being  the  first  producers  to 
make  the  plunge  in  color.  In  1929  the 
company  signed  for  more  than  twenty 
subjects.  One  of  these,  "Gold  Diggers 
of  Broadway,"  has  grossed  over  three 
and  a  half  million  and  is  claimed  to 
rank  as  one  of  the  first  ten  all-time  out- 
standing attractions. 

When  the  rush  started  to  color  Techni- 
color imposed  a  charge  of  .$25,000  deposit 
on  each  producer  booking  a  picture  for 
future  production.  At  one  time  the  com- 
pany had  on  hand  the  sum  of  .$1,600,000 
in  such  cash  payments,  or  an  advance 
on  64  subjects. 

During  the  years  1929-30  Technicolor 
appropriated  over  three  million  dollars 


for  plants,  equipment  and  research.  As 
a  result  its  plant  capacity  was  increased 
to  6,000,000  feet  of  two-component  prints 
a  month.  At  the  peak  of  the  rush  Tech- 
nicolor had  1200  men  employed  with  a 
payroll  approximately  of  a  quarter  mil- 
lion dollars  a  month. 

By  May  1932  the  company  had  com- 
pleted its  first  three-component  camera 
and  one  unit  was  equipped  to  handle 
three-color  printing.  The  advance  in 
quality  was  marked,  in  accuracy  of  tone 
and  color  and  in  definition. 

Then  came  the  combination  of  Techni- 


color and  Disney.  Walt  Disney  was  the 
first  of  the  cartoon  makers  who  took  the 
chance  of  the  added  expenditure,  the 
claim  of  the  cartoon  men  generally  be- 
ing that  such  work  was  expensive  enough 
in  black  and  white.  "Santa's  Work 
Shop"  at  Christmas  1932  established  a 
vogue  for  colored  cartoons.  Then  came 
"Three  Little  Pigs"  the  following  May 
and  early  in  1934  "Big  Bad  Wolf." 

Always  Something  Ahead 

A  favorite  subject  of  conversatin  has 
been  as  to  which  was  the  more  benefited 
of  the  combination — the  cartoon  or  the 
color.  Why  not  enjoy  the  combination 
we  are  privileged  at  times  to  follow 
— a  result  that  easily  will  rank  as  top 
entertainment  in  any  company  or  in  any 
field  of  amusement. 

In  the  letter  from  Dr.  Goldsmith,  sug- 
gesting for  himself  and  Mr.  Crabtree 


AVAILABLE  JANUARY  1,  1939 

NEW  RERECORDING  SYSTEM 

Film  Tested 

Automatic  Developing  Machines 
Soundolas 
Sensitesters 
Reeves-lites 

Variable  Density  Sound  System 
Variable  Area  Sound  System 
Microphone  Boom 
Sound  Accessories 
Laboratory  Accessories 


ART  REEVES 

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7512  Santa  Monica  Blvd.  Hollywood.  California  U.  S.  A. 


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December,  1938    •    American  Cinematographer  499 


that  Doctor  Kalmus  write  the  present 
paper,  the  former  said: 

"I  believe  it  would  be  of  particular 
interest  to  the  engineers  and  the  indus- 
try if  you  cared  to  indicate  how  you 
happened  to  cling  so  tenaciously  to  these 
developments  through  the  'dark  ages' 
when  color  motion  pictures  were  not  so 
well  appreciated." 

"All  I  have  said  points  to  the  answer," 
responded  the  doctor.  "It  was  mar- 
velously  interesting;  it  was  great  fun. 
We  couldn't  let  anybody  down,  neither 
customers,  employees,  stockholders  nor 
directors.  But  there  was  something 
else,  too. 

"There  was  always  something  just 
ahead,  a  plan  for  tomorrow,  something 
exciting  to  be  finished — yes,  and  some- 
thing more  to  be  finished  after  that;  and 
I  am  willing  to  predict  that  it  won't 
be  finished  for  many  years  yet. 

"The  type  of  film  which  will  be  stand- 
ard for  natural  color  pictures  ten  years 
hence  may  not  yet  have  emerged.  I  pre- 
dict that  within  two  years  Technicolor 
will  have  done  away  with  special  cam- 
eras and  be  regularly  employing  single 
strips  of  negative  through  any  standard 
motion  picture  camera,  and  that  within 
two  months  for  special  purposes  and 
within  six  months  for  more  general  pur- 
poses it  will  be  offering  to  its  customers 
a  negative  for  use  in  its  present  cam- 
eras with  from  three  to  four  times  the 
speed  of  its  present  negative. 

"That's  why  we  cling  so  tenaciously, 
there's  always  something  ahead;  there 
always  will  be;  our  pride  is  enlisted.  It's 
our  job." 


Alton^s  Pliotogjrapliy 
Praised  in  B»  A, 

DOWN  in  Buenos  Aires  on  the 
evening  of  October  5,  citizens  of 
that  energetic  municipality  ac- 
claimed Argentina  Sono  Film's  "Madre- 
selva"  (Honeysuckle),  the  photography 
on  which  was  directed  by  our  own  John 
Alton,  A.S.C.  One  of  the  city's  news- 
papers on  the  morning  following  de- 
scribed the  production  as  "a  victory  for 
our  motion  picture  industry." 

Another  declared  the  production  to  be 
"a  great  triumph  for  our  national  mo- 
tion picture  industry,"  and  a  third  makes 
it  unanimous  when  it  says  "  'Madreselva' 
is  a  high  exponent,  a  flag  carrier,  of  the 
Argentine  film  industry." 

The  same  three  publications  also  give 
large  credit  to  the  photographic  qual- 
ities of  the  picture.  The  first  declares: 
"Finally  with  praise  do  we  mention  John 
Alton,  to  whose  delicate  sensitiveness  we 
owe  the  exquisite  beauty  of  the  photog- 
raphy." 

"The  photography  and  lighting,"  says 
the  second,  "the  remarkable  merits  of 
which  constitute  highlights  of  the  pic- 
ture, belong  to  John  Alton." 

"Director  Amadori  knew  how  to  sur- 


round himself  with  useful  elements," 
writes  a  third  reviewer.  "One  of  these  is 
the  marvelous  photography  of  John 
Alton,  A.S.C,  who  has  placed  his  pho- 
tographic knowledge  and  experience  at 
his  disposal.  Have  you  ever  seen  Liber- 
tad  Lamarque  (the  feminine  star),  Hugo 
del  Carril  and  Malisa  Zini  so  well  cared 
for  and  so  beautifully?" 

Probably  by  the  time  the  foregoing  is 
printed  Alton  will  be  well  on  his  way 
with  another  super  for  Argentina  Sono 
Film,  "Puertas  Cerradas"  (Closed 
Doors).  The  picture,  like  the  one  that 
preceded  it,  will  star  Libertad  La- 
marque, and  will  be  the  third  subject  the 
A.S.C.  man  has  photographed  on  his 
present  contract  with  Argentina  Sono. 


^Balancmg  Pilms'  for 
Tkeateirs  Ready 

The  Research  Council  of  the  Academy 
of  Motion  Picture  Arts  and  Sciences  an- 
nounces another  forward  step  in  its  pro- 
gram. To  help  present  a  better  show  to 
the  public,  "Balancing  F'ilms,"  recorded 
in  Hollywood  studios  especially  for  this 
purpose,  are  now  available  for  all  thea- 
tres desiring  them. 

These  films  make  it  possible  for  pro- 
jectionists to  balance  machines  so  that 
one  will  not  reproduce  louder  or  softer 
than  the  other,  and  present  an  entire 
show  without  unwarranted  changes  in 
the  loudness  or  softness  of  the  dialogue. 


NEW  TWIN  ARC  BROAD 


MOTOR  DRIVE 


SOLENOID  STRIKE 


FIXED  ARC  GAP 


CONSTANT  COLOR 


ACOUSTICALLY 
TREATED 


LIGHT  WEIGHT 


SIMPLE  OPERATION 


That's  the  Story  of  This  New  Lamp 
Announced  by 

BARDWELL&  McALISTER,  INC. 

MOTION  PICTURE  ELECTRICAL  EQUIPMENT 
7636  Santa  Monica  Blvd. 
HOLLYWOOD,  CALIFORNIA  Tel.  HO.  6235 


500     American  Cinematogkapher    •    December,  1938 


Filming  Jungle  Djukas 

(continued  from  Page  i98) 

jungles,  it  was  a  giant — the  trunk  was 
fully  12  feet  in  diameter  at  the  base,  and 
heaven  only  knows  how  high;  our  high- 
est camera  platform  was  over  300  feet 
from  the  ground,  with  two  other  ones 
lower  down.  A  couple  of  the  natives,  who 
had  served  some  time  as  sailors,  made 
it  for  us.  Climbing  the  tree  like  a 
couple  of  overgrown  monkeys,  they 
hauled  up  ropes  and  boards,  and  lashed 
together  a  stout  platform  for  the  cam- 
eras. 

To  get  a  clear  lane  for  our  lenses, 
branches  were  lopped  off — an  incredibly 
difficult  task  when  you  realize  most  of 
the  big  trees  there  are  either  mahogany 
or  ironwood,  either  of  which  is  too  dense 
to  float  in  water  and  hard  as  metal! 

For  the  same  reason,  we  had  very 
little  opportunity  to  film  anything  on 
the  ground  unless  it  was  in  the  cleared 
area  by  the  village.  Any  other  angles 
made  it  necessary  to  hew  our  way 
through  a  network  of  iron-hard  branches 
and  matted  undergrowth. 

Contradictory  as  it  may  seem,  instead 
of  using  any  of  the  usual  fast  films 


working  in  this  jungle,  we  used  the  far 
slower  background-type  negative. 

Since  we  had  to  fly  everything  to  our 
location,  "booster"  lights  were  out  of 
the  question,  and  even  reflectors  were 
held  to  a  minimum.  In  spite  of  it,  our 
scenes  were  satisfactory. 

Used  Meter  Steadily 

In  all  of  this,  my  Weston  exposure 
meter  came  in  for  constant  use.  It  was 
used,  literally,  on  every  shot.  I'm  glad 
I  used  the  meter,  for  the  light  was  most 
deceptive.  Even  in  the  jungle,  the  light 
was  far  more  actinic  than  could  be  ex- 
pected, for  the  huge  expanses  of  brilliant 
white  clouds  acted  as  perfect  reflectors. 
The  light  was  equal  in  intensity  to  nor- 
mal desert  conditions  near  Hollywood! 

Some  of  our  other  scenes  called  for 
dolly  shots.  Naturally,  traveling  by 
plane,  we  could  not  have  carried  even 
one  of  the  studio's  smallest  camera  car- 
riages with  us.  Instead,  we  improvised  a 
substitute  which  I  think  is  unique. 

As  is  well  known,  the  Dutch  are  great 
bicyclists.  In  Parimaribo  we  found  more 
varieties  of  bikes  than  any  of  us  had 
thought  possible.  One  type  appealed  to 
me  as  the  answer  to  our  dolly  problem. 
It  was  a  delivery  tricycle  imported  from 


Europe.  I've  never  seen  anything  like  it 
in  this  country:  it  had  a  regular  bicycle 
rear  wheel  and  pedaling  arrangements, 
complete  with  a  strong  hand-brake. 

In  front,  however,  were  two  full-sized 
wheels  mounted  on  an  underslung  frame, 
pivoted  to  the  main  frame  for  steering.' 
All  sorts  of  delivery  bodies  were 
mounted  between  these  front  wheels. 

For  our  purpose,  we  had  a  flat,  low- 
sided  platform  built.  This  was  quite 
large  enough  to  hold  a  camera  on  its 
tripod,  and  leave  plenty  of  room  for  the 
camera  operators.  It  worked  beautifully 
dollying  along  the  street  of  the  Djuka 
village,  even  when — as  usual — the  morn- 
ing rain  had  left  the  street  a  sea  of  soft 
mud. 

I  liked  it  so  well  I  brought  the  thing 
home  with  me,  and  it  is  now  a  part  of 
the  M-G-M  camera  department  equip- 
ment. I  think  it  can  prove  useful  not 
only  on  other  locations,  but  even  for 
some  types  of  studio  work. 

Fire  Dance  Thrills 

The  biggest  thrill  of  the  trip  came 
when  the  natives  voluntarily  staged  their 
"Fire  Dance"  for  us.  I've  seen  some  wild 
African  dances,  to  say  nothing  of  the 
"Fire  Walkers"  of  the  South  Seas.  But 
this  beats  them  all. 

We  had  heard  of  this  dance,  but  as  it 
was  one  of  the  tribe's  most  cherished 
religious  ceremonies,  we  hesitated  to  ask 
them  to  put  it  on  for  us. 

Then  one  day,  while  we  were  filming 
some  lesser  dances,  they  spontaneously 
broke  into  the  fire  dance!  Did  we  hurry 
to  put  it  on  film  -  -  ?  What  do  you  think  ? 

In  the  South  Seas,  the  fire-walkers, 
after  much  ceremonious  application  of 
sacred  herbs  and  ceremonial  chanting, 
walk  across  a  bed  of  glowing  coals.  But 
the  Djukas — without  any  preparation 
other  than  frenzied  chants,  not  only 
walk  through  the  fire,  but  throw  them- 
selves down  into  the  fire  and  roll  among 
the  red-hot  logs! 

Furthermore,  they  fondle  the  blazing 
brands.  They  take  the  red-hot  logs — logs 
five  or  six  inches  in  diameter,  grabbed 
from  the  heart  of  the  fire — and  clasp 
them  under  their  bare  armpits — rub 
them  over  their  naked  bodies. 

Bite  from  Glowing  Coals 

Some  even  seize  the  glowing  logs  and 
bite  huge  chunks  from  them!  Yet  not 
one  of  the  dancers  showed  so  much  as  a 
blister — let  alone  a  burn.  How  they  do 
it  is  a  mystery  to  me,  as  it  has  been  to 
all  of  the  few  white  men  who  have  been 
privileged  to  see  the  dance. 

Those  of  you  who  see  the  picture  may 
have  airily  dismissed  these  scenes  as  be- 
ing studio  trickery — hokum — but  they 
weren't.  They  were  absolutely  legiti- 
mate— authentic.  Some  of  our  writers, 
I  admit,  have  fine  imaginations.  Our 
special  effects  cinematographers  can — 
and  do — make  almost  anything  possible 
on  the  screen. 

But  my  experience  among  the  Djukas 
showed  me  that  there  are  things  no 
writer  could  imagine,  and  no  trick- 
camera  wizard  could  stage — in  real  life, 
if  you  will  only  look  for  them! 


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December,  1938    •    American  Cinematographer  501 


A.S.C/S  OCTOBER  PARTY 

PROVES  RARE  OCCASION 


THERE  was  another  of  those  rare 
evenings  October  31  at  the  home 
of  the  American  Society  of  Cine- 
matog-raphers  on  the  occasion  of  the 
monthly  get-together.  The  chairman  of 
the  evening-  was  James  Wong  Howe, 
A.S.C.,  and  what  could  be  more  in  keep- 
ing than  the  presentation  by  this  son  of 
China  of  the  Chinese  Cultural  Mission 
from  Shanghai. 

The  mission  to  the  United  States, 
numbering  a  dozen,  is  headed  by  Mrs. 
Ernest  S.  H.  Tong,  secretary-general, 
wife  of  Ernest  Tong,  counsellor  of  the 
Kwantung  Government. 

Mrs.  Tong  will  be  remembered  by  those 
who  were  privileged  to  be  present  as  a 
young  woman  of  unusual  charm  and 
grace,  whose  presence  and  attainments 
were  matched  by  a  beauty  seemingly 
softened  and  heightened  by  the  shadow 
of  the  great  tragedies  of  which  for  more 
than  a  year  she  has  been  a  part. 

Mrs.  Tong  has  been  organizing  this 
music-drama  group  since  the  beginning 
of  the  war,  with  the  aid  of  two  prominent 
American  women  stationed  with  their 
husbands  in  China  and  also  of  an  impos- 
ing list  of  patrons  representing  not  only 
China  but  Fi'ance,  Norway,  Belgium, 
Portugal,  Italy,  Great  Britain,  Interna- 
tional Red  Cross,  and  through  Roy  How- 
ard, the  United  States. 

The  mission  will  tour  this  country 
during  coming  months  inspired  by  sev- 
eral motives — in  the  hope  of  creating  in 
the  United  States  a  better  understand- 
ing of  Chinese  arts  and  culture — and 
surely  it  will  achieve  that — and  to  con- 
tribute to  China's  war  orphans  through 
Madame  Chiang  Kai-shek  all  funds  above 
self-imposed  simple  needs. 

As  stated  by  Edna  Lee  Booker,  vice 
chairman,  the  result  of  the  mission's 
work  is  a  real  contribution  to  the  art 
world.  The  organization  has  revived  the 
classical  arts  of  a  thousand  and  more 
years  ago.  It  has  adapted  them,  modern- 
ized them. 

An  outstanding  feature  of  the  enter- 
tainment is  the  music  by  the  Classical 
Orchestra.  The  musicians,  who  are  pro- 
fessors of  the  Ta-Tung  National  Musical 
Research  Institute  and  the  Shao  Chao 
Institute  of  Classical  Music,  play  on  in- 
struments such  as  once  were  used  during 
the  Confucian  formalities  and  old  Chinese 
court  ceremonies  centuries  ago.  Wei 
Chung-loh  is  the  most  famous  P'i  P'a 


1451 


MOVIOLA 

FILM  EDITING  EQUIPMENT 

Used  in  Every  Maior  Studio 
Illustrated  Literature  on  request 

MOVIOLA  CO. 

Gordon  St.  Hollywood, 


Calif. 


player  in  China,  while  Doctor  Sung 
Yue-tuh  is  a  master  of  the  Phoenix  flute. 

The  three  others  in  the  orchestra  be- 
side the  two  just  named  are  Ling  Ya-yei, 
whose  insti'ument  is  the  yang  chin; 
Wang  Chen-toh,  high  erh-hu,  and  Hsu 
Si-sung,  low  erh-hu. 

The  members  of  the  group  not  ah-eady 
mentioned  are  Miss  Virginia  Chang,  Miss 
Ethel  Chun,  Kwan  Hung-ping,  Wang 
Ven-piao,  Hsu  Kwan-nee  and  Chow 
Tse-ping. 

The  company  was  restricted  in  putting 
on  its  program  by  the  limitations  of  the 
lounge — a  stage  really  being  necessai-y — 
but  it  was  a  program  inevitably  impress- 
ing the  listener  as  one  which  never  be- 
fore had  been  heard  outside  the  bounds 


of  China.  This  literally  was  true  up  to 
the  entrance  of  the  Cultural  Mission  into 
the  United  States. 

If  it  be  fair  to  suggest  the  outstand- 
ing performance  of  an  unusual  evening 
it  might  be  that  of  Wei  Chung-loh  on 
his  stringed  P'i  P'a  in  a  solo  written  for 
that  particular  kind  of  instrument  four- 
teen hundred  years  ago.  It  was  one  to 
remember.  Well  might  the  artist  have 
been  the  original  player  and  have  spent 
the  intervening  centuries  acquiring  his 
uncanny  mastery  of  the  P'i  P'a. 

Hon  Wu,  a  native  of  San  Francisco, 
contributed  materially  to  the  evening's 
entertainment  by  songs  and  dramatic 
recitals.  He  is  a  finished  artist  with 
broad  stage  experience. 

The  Chinese  Cultural  Mission  deserves 
well  of  America — for  its  great  artistry 
and  for  the  equally  great  patriotic  pur- 
pose behind  it — a  purpose  which  at  least 
subconsciously  never  is  absent  from  the 
mind  of  the  thoughtful  auditor. 

G.B. 


EVERYTHING  PHOTOGRAPHIC 

FOR  PROFESSIONAL  AND  AMATEUR 

The  World's  Largest  Variety  of  Cameras  and  Projectors.  StudI 
Laboratory    Equipnnent    with    Latest    Improvements    as  Used 
Hollywood  Studios.    New  and  Used. 

SEND  FOR  BARGAIN  CATALOGUE 

Hollywood  Camera  Exchange 

1600  CAHUENGA  BOULEVARD 
HO  3651  Hollywood,  California        Cable:  Hocamex 


the  BERNDT-MAURER  Model  "F" 
High  Fidelity  Sound-on-Film  Unit  for 

35  mm.  SYMMETRICAL  VARIABLE -AREA  RECORDING 

Built  loi  utmost  flexibility  of  electrical  operation  and  thoroughly 
tested  under  actual  operating  conditions,  the  B-M  Model  "F" 
Symmetrical  Variable -Area  Recording  Unit  incorporates  the  vi- 
brating mirror  element  of  the  highly  successful  Model  "E" 
Unilateral  Recording  Unit,  and  carries  the  same  TWO  YEAR  un- 
conditional guarantee  against  breakdown  in  service. 

The  Model  "F"  Unit  requires  no  attention  after  installation,  as  it 
is  put  into  permanent  and  correct  adjustment  before  delivery. 

Compact  design  of  the  Model  "F"  Unit  permits  convenient  in- 
stallation on  any  35  mm.  sound  camera  or  recorder.  Write  for 
complete  specifications  and  frequency  response  curve. 


Berndt- Maurer  Model  "E"  High 
Fidelity  Unilateral -Track  Recording 
Unit,  frequency  range  0  to  10,000 

cycles  $350. 

F.  O.  B.  New  York 


Berndt  -  Maurer  Model  "F"  High 
Fidelity  Symmetrical -Track  Record- 
ing Unit,  frequency  range  0  to  10,000 
cycles  $450. 

F.  O.  B.  New  York 


THE  BERnDI-mnURER  CORP. 

117  ERST  24th  STREET*  HEUI  VORK  CITV 


502     American  Cinematographer    •    December,  1938 


AMPRO  SALES  AGENTS  FOR 
SYNCRO.SOUND  16mm.  PRO 


THE  Ampro  Corporation  of  Chi- 
cago, manufacturers  of  16mm. 
Silent  and  Sound  motion  picture 
projectors,  have  just  completed  arrange- 
ments as  the  exclusive  United  States 
sales  agents  (east  of  the  Rocky  Moun- 
tains) for  the  Syncro-Sound  16mm. 
professional  sound-on-film  camera,  as 
manufactured  by  Gumbiner  Syncro- 
Sound,  Inc.,  3337  Wilshire  boulevard, 
Los  Angeles. 


The  Syncro-Sound  camera  is  a  pre- 
cision, professional  instrument  that  pro- 
duces pictures  and  high  quality  natural 
sound.  It  has  a  sprocketless  sound  drive 
— an  exclusive  feature,  designed  to  in- 
sure flutterless  recording.  A  combina- 
tion carrying  case  and  blimp  provides 
extreme  ease  of  set-up  and  efficiency. 

It  takes  single  system  pictures  on  all 
types  of  film  and  can  be  synchronized 
with  any  camera  for  double  system,  or 


LIGHTING  NEWS  8^ 


ON  THE  SET 


EVERY  DAY 


DUARC  TELLS  ALL 


JITTERBUG 
BROADS  LOSE 
GROUISD  m 
STUDIOS 

Nobody  likes  a  jittery 
broad ! 

Observers  of  trends  and 
tendencies  in  Hollywood's 
studios  point  to  this  fact  as 
basis  for  the  present  decline 
in  favor  of  "jitterbug"  arc 
broads.  "Swing",  "rug-cut- 
ting" and  "jitterbuggery" 
may  still  be  ace-high  among 
the  younger  generation,  but 
they  are  distinctly  out  of 
favor  with  Hollywood's 
lighting  experts. 

In  circles  where  "in  the 
groove"  refers  to  a  well-cut 
wax  rather  than  a  succes- 
sion of  "hot  licks",  and  a 
"jitterbug"  may  signify  a 
flickery  lamp  rather  than 
an  exponent  of  the 
"Suzy-Q",  steadiness,  rath- 
er than  flashy  performance 
is  sought.  This  is  particu- 
larly noticeable  of  twin-arc 
"broadside"  lamps,  common- 
ly knows  as  "broads".  A 
single  flicker  of  a  single 
lamp — ^unnoticed  by  the  eye 
— may  be  picked  up  by  the 
camera  and  made  the  occa- 
sion of  budget-blasting  re- 
takes. 

Displaced  by  Duarc 

For  this  reason  there  exists  on 
all  sets  where  arc  li^htinK  is  used 
an  accelerating  tendency  to  retire 
the  earlier,  jittery  arc  broads  and 
to  replace  them  with  the  flicker- 
free  Duarc. 

An  additional  advantage  to  this 
policy  is  pointed  out  by  the  ex- 
perts. Previous  arcs  have  re- 
quired considerable  attention  and 
frequent  retrimming,  an  especial 
liability  where  the  lamps  are 
used  as  overhead  "scoops".  The 
longer-burning,  dependable  Duarc, 
used  for  this  purpose,  can  operate 
without  retrimming  for  half  a 
day's  shooting  or  longer.  The 
more  modern  Duarc  doubly  speeds 
production. 


Holiday  Greetings 
from  the 


family 
PETE 
ELMER 
PHIL 
BROWNIE 
AND 
DUARC 
H.  I.  ARC 
SOLARSPOT 

Mole-Richardson 
Company 

941   No,  Sycamore  Ave. 
Hollywood,  California 


CHAMPION  TWIN 
REVEALS  mSIDE 
SECRETS  OF 
DEFEAT  OF 
ARC  FLICKER 

Hailed  as  the  first  broad- 
side arc  to  defeat  flicker, 
Duarc,  Mole  -  Richardson's 
sensational  champion,  today 
broke  a  long  silence  to  re- 
veal inside  facts  of  the 
amazing  achievement. 

"It  is  purely  a  matter  of 
control,"  the  champion  stat- 
ed. "Flicker  has  always 
been  caused  by  starvation 
of  the  arc.  A  properly  nour- 
ished arc — one  in  which  the 
carbons  are  fed  at  precisely 
the  rate  they  are  consumed 
— cannot  flicker.  If  the  feed 
gets  behind  consumption — 
or  ahead  of  it — even  the 
best  arc  must  flicker.  If  the 
feed  is  non-intermittent — 
jerky — there  will  be  flicker. 
For  satisfactory  perform- 
ance, the  feed  must  be  con- 
tinuous, directly  propor- 
tioned to  carbon  consump- 
tion. 

Individual  Control 

"Where  two  arcs  are  operated 
together,  as  in  a  twin-arc  lamp, 
this  means  that  each  arc  must  be 
fed  independently.  The  majority 
of  conventional  arcs,  planned  for 
cheapness  of  manufacture,  have 
ignored  this  important  fact.  Feed- 
ing both  arcs  together,  by  a  sin- 
gle mechanism  which  usually  op- 
erates intermittently,  they  cannot 
avoid  an  unproportioned  feed — 
feeding  one  arc  perhaps  too  late 
for  its  needs,  the  other  perhaps 
too  soon.  Flicker  inevitably  results. 

"The  flickerless  performance 
which  has  made  Duarc  the  cham- 
pion can  be  credited  largely  to 
the  fact  that  each  of  the  twin 
arcs  is  fed  individually,  with  the 
carbons  feeding  with  a  continuous 
movement  governed  directly  by 
the  rate  at  which  they  are  con- 
sumed." 


Syncro-Sound  16mm.  professional  cam- 
era, to  be  (iistribHted  by  Ampro 

with  any  projector  for  recording  narra- 
tive synchronous  with  a  silent  picture. 
For  location  work  a  small,  lightweight 
converter  may  be  purchased  that  will 
operate  the  camera  from  a  portable  32- 
volt  battery.  The  tripod  is  light  in 
weight  yet  rugged  enough  to  support 
150  pounds. 

The  equipment  packs  into  three  black 
fabrikoid  cases  with  chromium  trim. 
Combined  weight  of  all,  120  pounds. 
The  complete  sound  picture  equipment 
consisting  of  camera,  amplifier,  tripod, 
two  magazines,  microphone,  one  picture 
lens,  carrying  cases,  with  all  connecting 
cables,  F.O.B.  Los  Angeles,  $2975. 


Rogers  Moves  East 

F.  B.  Rogers  has  been  appointed  by 
Ampro  sales  organization,  effective  Octo- 
ber 10,  divisional  sales  manager  with 
headquarters  at  the  New  York  office, 
56  West  Forty-fifth  street.  Assisting 
Mr.  Rogers  is  his  son,  F.  B.  Rogers,  Jr. 

Metropolitan  New  York  will  be 
handled  intensively  by  Harry  S.  Millar, 

Mr.  Rogers  brings  to  his  organization 
a  wealth  of  knowledge  and  years  of  ex- 
perience in  all  phases  of  merchandising 
connected  with  the  16mm,  motion  picture 
industry. 


In  line  with  the  growing  demand  for 
highly  eff'ective  yet  inexpensive  photo- 
lamp  reflectors,  Wholesale  Radio  Service 
Company,  100  Sixth  Avenue,  New  York, 
has  introduced  three  Lafayette  F'otolite 
Reflectors. 


December,  1938    •    American  Cinbmatographer  503 


DeVry  35  mm  single  and  double  system  sound  recording  camera — improved 
(shown  without  sound  lens).  Note  the  new  view  finder  which  gives  an  image 
up  t-o  2  by  3%  inches.  The  feature  of  this  which  is  most  important  is  that  it 
may  be  swung  easily  away  from  the  film  threading  side  of  the  camera  with- 
out changing  the  parallax  adjustment. 


All-Metal  Enlarging  Easel 

A  new  and  fully  adjustable  enlarging 
easel  of  all-metal  construction  has  been 
introduced  by  Wholesale  Radio  Service, 
100  Sixth  Avenue,  New  York.  It  per- 
mits enlargements  up  to  11  by  14  inches. 
Extra  wide  margin  slides  hold  the  paper 
perfectly  flat  and  are  maintained  in 
accurate  alignment  by  a  secure  locking 
device. 


New  B  &  H  Lenses  for  8mm. 

Two  lenses  trade-named  "Anpax"  and 
"Telate"  for  Filmo  8mm.  cameras  are 
announced  by  Bell  &  Howell  in  a  new 
line:  12i/^mm.  (%  inch)  F  2.5  Anpax  in 
focusing  mount;  IV2  inch  F  3.5  Telate 
in  focusing  mount. 


DiffusrJ  F<7rus  and  many 


H.  Scheibo 

F  EFFECT  FILTERS 

LOS  ANGELES  CAL 


1 


Developing  Machines  .  .  ,  Printers 
Lite  Testing  Machines 


Fried  16mm. 
Sound  and 
Picture 
Printer 
Model  DB 


FRIED  CAMERA  CO. 

6156  Santa  Monica  Blvd. 
HOLLYWOOD,  CALir. 

Cnhit-  Addrrs^:  hltlKIHlAMCO 


COOKE  LENSES 

have  earned  world-wide  pref- 
erence among  experienced 
cinematographers  because 
they  give  superior  results  un- 
der all  conditions.  Focal 
lengths  for  every  need.  Write 
for  descriptive  circular. 

BELL  &  HOWELL 

COMPANY 

Exclusive  World  Distributors  of 
Taylor-Hobson  Cooke  Cine  Lenses 
1848  Larchmont  Avenue,  Chicago 
New  York:  11  West  42d  Street 
Hollywood:  716  N.  LaBrea  Avenue 
London:  13-14  Great  Castle  Street 


Peach  Signs  with  Process 

Kenneth  Peach,  A.S.C.,  well  known 
miniature  and  process  director,  will  be 
connected  with  the  Motion  Pictures  Proc- 
ess corporation's  technical  staff.  During 
the  past  few  years  he  has  been  with 
MGM,  20th  Century-Fox  and  other  pro- 
ducers. 


Buv  cHRisTmm  Sim 

PROTECT-YOUR-HOME 
FROM  -TUBERCULOSIS 


Mr«»T  SACRIFICE 

DE  BRIE  SUPER  PARVO 

.\«>n-  Type  Ultra  Silent  Camera — 
Ao  Blimp  Necessary 

Has  built-in  motor,  automatic  dissolve, 
pilot  pins  and  anti-buckling  device.  Four 
lOOO-ft.  magazines — 40  mm.  50  mm.  and 
75  mm.  F2.3  lenses,  De  Brie  uprigtit  finder, 
set  of  front  attachments.  Leather  covered 
carrying  trunk.  It's  the  latest  type  equipment 
.  .  .  like  new! 

C'aniora  Equipment  To. 

ISOO  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable;  Cinequip. 


FAXON  DEAN 


INC. 


CAMERAS 

BLIMPS-DOLLYS 

FOR  RENT 

MO.  11838 

4516  Sunset  Boulevard 
Night,  NO.  22563 


504     American  Cinematographer  • 


December,  1938 


He44^/  Filmo  8  with  Turret  Head! 


Three-lens  turret.  Finder  objectives  on  turret,  too.  Critical  focuser 
"Positive"  finder  witli  "Spectip"  rubber  cup  for  spectacle-wearers 
Four  speeds,  two  speed  ranges.  Single-frame  exposures. 


Right — Case  for  Turret  8.  Accom- 
modates camera  with  lenses  in 
place,  Weston  Meter,  two  rolls  of 
film,  color  filters,  and  extra  lenses. 


Four  Filmo  8's 


THE  new  Filmo  Turret  8  now  brings  to  8  mm.  movie-makers  the 
complete  readiness  for  all  picture  opportunities  heretofore  en- 
joyed only  by  users  of  16  mm.  and  35  mm.  film.  Study  these  features: 

TURRET  HEAD.  Mounts  your  choice  of  three  lenses.  Shift  lenses  in  a 

second  by  rotating  the  compact  turret. 

FINDERS  MOVE  WITH  LENSES.  Viewfinder  objectives  matching  the  lenses 
are  also  mounted  on  the  turret  head.  When  a  lens  is  in  photograph- 
ing position,  its  matching  finder  objective  is  always  in  viewfinding 
position. 

"POSITIVE"  FINDER.  Filmo  Turret  8  uses  the  same  fully  enclosed  "posi- 
tive" type  of  finder  as  Filmo  14  1  ...  a  finder  which  always  shows 
exactly  as  much  of  the  subject  as  will  appear  on  the  screen.  You  see 
a  large,  brilliant,  sharply  outlined  image  through  each  objective  .  .  . 
no  masking  for  telephoto  lens  fields.  The  removable  "Spectip"  rubber 
cup  around  the  finder  eyepiece  protects  spectacles,  facilitates  view- 
finding  for  spectacle-wearers. 

CRITICAL  FOCUSER.  Revolve  the  turret  to  place  a  lens  before  the  focuser 
tube.  See  the  entire  field  while  you  set  the  lens  for  needle-sharp  focus. 

In  addition  to  these  new  features,  the  Filmo  Turret  8  provides  all  the 
advantages  of  the  finest  non-turret  Filmo  8,  including  four  operating 
speeds,  single-frame  exposures,  easy  loading,  rotary  disc  shutter,  and 
accurate  speed  control.  Send  the  coupon  for  full  details. 


Filmo  Turret  8  with  I2V2  mm.  F  2.5  lens,  speeds  8,  16,  24,  and  32 

Same,  with  speeds  16,  32,  48,  and  64  

Carrying  Case  for  Filmo  Turret  8   


$140.00 
145.00 
12.50 


The  Filmo  Double  8's  with  single  lens 
seat  offer  convenient  small  size  and 
simplicity  of  use,  combined  with  pre- 
cision construction  which  insures  the 
finest  picture  quality.  Features  include 
four  film  speeds  and  single-frame  ex- 
posures, instant  lens  interchange- 
ability,  finder  masks  for  telephoto 
lenses.  Four  models  from  which  to 
choose: 

With  F  3.5  With  F  2.5 
Speeds  Lens  Lens 

8,  16,24,and  32    $51.50  $75.00 

16,  32, 48,  and  64    56.50  80.00 


■---■-■-----■---■■------------1 

BELL  &  HOWELL  COMPANY  AC  12-38  | 

1848  Larchmont  Ave.,  Chicago,  111.  I 
Please  send  details  about: 

(  )  Filmo  I'urrct  8.  (  )  Other  Filmo  8  ram.  Cameras. 
(  ;  Filmo  141,  16  mm.  Camera.  (  )  Other  Filmo  16 
mm.  Cameras.  I 

I 

Name  

Adcireu  

City  Stale  


SAVE  TIME 
USE  THE 
COUPON 


NEW  FILMO  141 

16  mm.  Magazine-loading  Camera 

Filmo  141  combines  great  versatility  with  the  convenience  of  magazine 
loading  and  with  new  features  which  actually  prevent  common  mistakes. 
So  it's  the  ideal  16  mm.  camera  for  beginner  and  advanced  worker  alike. 
It  uses  the  Kodak  magazine,  available  everywhere,  and  permits  inter- 
changing film  even  in  mid-reel  without  fogging  a  single  frame.  The  ex- 
clusive, positive  "projected  area"  viewfinder  eliminates  "eye  parallax," 
cause  of  many  off-center  movie  scenes.  There  are  four  operating  speeds  in 
your  choice  of  two  speed  ranges,  and  a  single-frame  exposure  device,  too. 
Instant  lens  and  finder  objective  interchangeability,  starting-button  lock, 
built-in  exposure  calculator,  rotary  shutter,  and  sturdy,  die-cast  housing 
contribute  to  the  new  camera's  perfection. 

With  Taylor-Hobson  1-inch  F  2.7  lens  $127.50 

Also  available  with  F  1.9  or  F  1.5  lens.  Send  coupon  for  details.  Bell  & 
Howell  Company,  Chicago,  New  York,  Hollywood,  London.  Est.  1907. 


BELL  &  HOWELL 


AMATEU 


EMATOGRAPHER 

SECTION 


THERE  IS  A  SANTA  CLAUS! 


BUT  .  .  .  you  can't  depend  on  Santa 
Glaus  to  give  you  the  Christmas 
sequences  you  want!  Getting  them  de- 
pends largely  on  using  the  right  kind  oj 
film  for  indoor  shooting. 

AND  HERE  IT  IS 

Agfa  16  mm.  Fine-Grain  Superpan  Re- 
versible is  exactly  the  right  film  to  give 
you  indoor  movies  with  just  as  much 
brilliance,  depth  and  detail  as  you  get 
in  your  outdoor  shots. 

Superpan  has  everything  it  takes  to  get 
splendid  pictures  under  difficult  indoor 
conditions.  It's  a  film  of  unusual  speed, 
with  wide  latitude  that  tends  to  mini- 


mize errors  in  exposure.  Its  balanced 
sensitivity  to  ail  colors  insures  good 
tone  reproduction. 

And  its  fine-grain  emulsion,  and  anti- 
halation  coating  allow  large-size  pro- 
jection without  loss  of  sharpness  and 
detail. 

Buy  Agfa  16  mm.  Fine-Grain  Superpan 
Reversible  today.  Use  it  for  your 
Christmas  sequences  this  year.  It  is 
available  in  100-foot  rolls  at  $7.50,  and 
in  50-foot  rolls  at  $4.00,  including 
processing  and  return  postage.  Made 
by  Agfa  Ansco  Corporation  in  Bing- 
hamton,  N.  Y. 


AGFA 

SUPERPAN  FILM 


AMATEUR 

S  E  C  T  I 


MOVIE 

O  N 


SOCIETY 

OF  AMATEUR 

CINEMATOGRAPHERS 


BOARD  OF  REVIEW 

Victor  Milner,  President,  A.S.C.,  Director 
of  Photography  Paramount  Studios,  Acad- 
emy Award  Winner  1935 

Karl  Struss,  A.S.C.,  Director  of  Photog- 
raphy Paramount  Studios,  Academy  Award 
Winner  1928. 

Fred  W.  Jackman,  Treasurer  American  So- 
ciety of  Cinematographers 

Dan  Clark,  A.S.C.,  Director  of  Photog- 
raphy Twentieth  Century-Fox 

Tony  Gaudio,  A.S.C.,  Director  of  Photog- 
raphy Warner  Brothers  Studio,  Academy 
Award  Winner  1937 


Contents.... 


Television,  slowly,  surely  510 

By  George  Blaisdell 

Filming  small  game  511 

By  Ormal  I.  Sprungman 

"As  the  Earth  Turns"  Described  515 

By  Richard  H.  Lyford 


Bell  &  Howell's  Filmo  Turret  8  is  ready.  519 

Injecting  story  interest  in  non-drama.  .520 
By  Robert  W.  Teorey 

Eastman's  IGmm.  Super  XX  now  ready. 523 

Spencer  Lens  develops  color  projector.  .523 

Notes  from  the  Movie  Clubs  526 

Annual  index   527 


IIIIIIIIIIIIIIIIIIMIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII  IIIIIIIIIIIMIII  Mil  MM 

Will  Name  Contest 
Winiiers  in  January 

ANNOUNCEMENT  of  winners  in  The 
American  Cinematographer's  inter- 
national amateur  contest  for  1938  will 
be  made  in  the  January  issue  of  this 
magazine. 

IIIIIMIIIIIIIIMIIIMIIIIIIIIMMIIIIMIIIIIMIMIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIMIIII 

December,  1938    •    American  Cinematographer  509 


Tele 


vision 


ure. 


11 


7 


<><><> 


SUPPLEMENTING  its  annual  re- 
ports of  May  15,  1936,  and  June  15, 
1937,  the  Research  Council  of  the 
Academy  has  issued  a  third  under  date 
of  November  15  just  past.  Like  its  im- 
mediate predecessor,  it  is  a  paper  of  real 
interest  even  to  a  person  only  casually 
concerned  about  television.  It  is  a  mat- 
ter of  regret  its  arrival  was  too  late  for 
us  to  give  it  the  attention  it  deserved. 

Primarily  the  report  is  designed  for 
the  information  of  studio  production 
executives  and  others  who  may  be  inter- 
ested in  the  possible  future  effects  of 
television  from  the  standpoint  of  the  in- 
dustry. It  has  been  prepared  following 
a  thorough  investigation  of  the  present 
status  of  television  throughout  the  world. 

The  committee  points  out  its  belief 
that  the  long  experimental  phase  of  tele- 
vision development  is  about  to  culmi- 
nate. That  does  not  mean,  it  explains, 
that  experimentation  is  at  an  end.  "On 
the  contrary,"  the  i-eport  continues, 
"the  experiment  now  takes  on  a  larger 
scope,  with  the  emphasis  shifting  from 
technical  research  (although  technical 
development  will  simultaneously  be  in- 
tensified) to  economic  and  social  aspects. 
The  public,  from  the  role  of  spectators, 
will  become  participants  in  the  project, 
and  on  the  extent  and  manner  of  that 
participation  the  effects  on  the  motion 
picture  industry  will  depend. 

"That  such  effects  will  be  evident  in 
the  next  two  years  is  altogether  to  be 
expected.  That  the  repercussions  will 
result  in  revolutionary  changes  in  mo- 
tion picture  production  and  exhibition 
within  that  period  is  unlikely. 

"As  we  have  pointed  out  before,  the 
complexity  of  the  television  field  and 
the  magnitude  of  its  artistic  and  finan- 
cial problems  are  an  automatic  brake  in 
this  respect,  and  it  might  be  added  that 
this  is  true  of  competitive  and  coopera- 
tive potentialities  alike. 

"As  regards  the  latter,  when  television 
comes  into  its  own  it  may  well  open  up 
a  vast  market  for  films  especially  de- 
signed for  television  distribution.  Should 
competitive  factors  predominate,  it  is 
quite  obvious  that  the  strongest  interests 
in  the  television  field  cannot  afford  to 
ignore  their  own  very  substantial  stake 
in  the  business  of  aural  broadcasting. 

"Although  radio  is  nowhere  near  the 
end  of  its  growth,  financially  it  has  be- 
come a  mature  industry,  mindful  of  its 
investment  in  the  present  while  looking 
into  the  future,  and  this  tendency  con- 
stitutes a  protection,  if  one  is  needed, 
for  the  other  entertainment  industries 
as  well. 

"And  yet,  modern  technology  has  its 
own  dynamic  imperatives.  It  will  not 
and  .should  not  stand  .still.  New  indus- 
tries are  needed,  and  if  their  coming  is 


rceorge 


troublesome,  it  will  be  far  more  trouble- 
some if  they  do  not  come. 

"Television  is  one  of  them  and  it  is  a 
year  nearer.  We  therefore  repeat  what 
we  said  in  our  last  report:  that  the 
situation  is  one  which  calls  for  continual 
observation  and  analysis  by  the  motion 
picture  industry,  and  to  an  increasing 
degree  as  events  take  their  course. 

"Accordingly  the  Committee  is  of  the 
opinion  that  the  Academy  Research 
Council  should  immediately  proceed  to  a 
more  thorough  consideration  than  has 
been  undertaken  in  the  past  of  the  pros- 
pective relationships  between  television 
and  motion  picture  production  and  ex- 
hibition. 

"In  the  opinion  of  the  Committee  this 
investigation  should  cover  the  artistic, 
technical,  legal,  and  economic  phases  of 
the  subject.  Therefore,  in  order  that 
future  activities  may  encompass  all 
phases  of  the  subject,  the  commi'ttee 
recommends  that  it  be  enlarged  to  in- 
clude representation  from  those  other 
branches  of  the  industry  in  a  position 
to  contribute  a  wider  background  to  its 
considerations." 


THE  British  Journal  of  Photogra- 
phy, in  its  issue  of  October  21, 
tells  of  the  appeal  for  funds  made 
by  the  National  Film  Library  Commit- 
tee. At  a  meeting  on  October  16  there 
was  screened  a  program  of  pictures 
which  opened  with  a  production  made 
in  1896  by  the  Lumiere  brothers.  It 
was  the  first  commercial  subject  to  be 
displayed  in  England. 

From  that  point  there  was  shown  a 
succession  of  films  made  in  England  and 
abroad.  Then  followed  "The  Conjuror," 
an  early  work  by  George  Melies;  a  film 
record  of  Queen  Victoria's  funeral,  "The 
Great  Train  Robbery,"  Griffith's  "Simple 
Charity,"  featuring  Mary  Pickford; 
Italy's  "Dante's  Inferno"  of  1912,  "a 
selection  of  extracts  illustrating  the  de- 
velopment of  Charles  Chaplin  from  a 
music  hall  star  to  the  'screen's  greatest 
clown,'  one  of  which  contained  the  be- 
loved Marie  Dressier  in  her  first  film 
part." 

The  most  worthy  aims  of  the  society 
are  to  preserve  for  posterity  films  of 
national  and  historical  value  and  through 
its  loan  section  to  distribute  copies  of 
these  films  to  educational  and  other 
organizations. 

"The  work  of  preservation  and  dis- 
tribution of  copies  is  a  costly  matter," 
concludes  the  Journal,  "and  in  order 
that  it  may  be  carried  on  it  is  to  be 


hoped  that  the  National  Film  Library 
will  enjoy  the  co-operation  of  the  film 
trade  and  of  the  filmgoing  public." 
• 

Down  in  Buenos  Aires  there  is  gen- 
erous recognition  of  the  relative  impor- 
tance of  the  photographic  director  in 
the  production  scheme.  Argentina  Sono 
Film  in  its  posters  exploiting  its  major 
production  of  "Madreselva"  leaves  no 
doubt  in  any  one's  mind  that  its  pho- 
tographer really  is  a  part  of  the  staff 
that  created  it  by  bracketing  with  the 
names  of  the  musical  composers  "Photo- 
grafia:  John  Alton,  A.S.C." 

• 

There  are  two  announcements  among 
others  this  present  month  that  are  of 
real  importance  in  the  8mm.  field — the 
appearance  very  shortly  of  a  three-lens 
turret  from  the  factory  of  Bell  &  Howell 
along  with  a  critical  focuser.  Also  from 
Stith-Noble  Corporation  came  word  that 
company  at  last  has  licked  the  plenty 
tough  job  of  securing  a  duplicate  of 
8mm.  color. 

If  this  Hollywood  company's  achieve- 
ment in  8mm.  color  duping  has  been  as 
successful  as  its  parallel  research  effort 
in  the  field  of  16mm.  color  then  indeed 
will  there  be  reason  to  be  pleased  at 
the  result. 

• 

Coursin  Black  in  the  November  issue 
of  Photography  of  London  has  a  vitally 
interesting  page  under  the  striking  title 
of  "Study  Your  Mood  Before  Your 
Meter."  Some  five  million  new  addicts 
set  forth  on  the  picture  trail  in  1938,  he 
declares  in  his  opening  paragraph.  Is 
there  any  informed  person  prepared  to 
refute  that  statement? 

As  to  the  meaning  of  "correct"  expos- 
ure, no  one  has  yet  expounded  that,  the 
writer  says,  adding  he  has  been  in  the 
game  only  eleven  years  and  naturally 
couldn't  be  expected  to  know.  What  he 
describes  as  a  most  significant  little 
phrase  is  that  one  wherein  he  suggests 
about  all  he  has  attained  is  that  he 
knows  what  is  "correct"  exposure  for 
the  type  of  pictures  he  likes  to  make. 

"The  photographer  must  learn  his 
feelings  and  preferences  before  he 
studies  his  meter  readings,"  continues 
the  writer.  "My  trait  of  always  liking 
dense,  impenetrable  shadows  and  con- 
trasty  highlights  means  my  exposures 
always  strive  for  those  effects.  My 
composition,  lighting  and  subject-selec- 
tion are  governed  by  those  things.  I 
rarely  take  half-tone  detail  because  I 
like  half  tones  to  merge  with  shadows. 
It's  just  my  own  particular  taste.  Yours 
is  very  likely  different." 

The  photographer  emphasizes  the  im- 
portance of  development,  declaring  the 
amateur  should  realize  that  development 
is  just  as  important  as  exposure — and 
most  convincingly  he  tells  why. 


510     AMEr<icAN  CiNEMATOGRAPHER    •    December,  1938 


FILMING 
SMALL 
GAME 


y  Ormal  I.  Sprangman 


Photographs  by  the  Writer 
Unless  Otherwise  Noted 


If  you  haven't  the  time  fw'  wild  life  filming,  a 
Kodachrome  reel  on  the  swans  in  your  city  park 
will  hold  much  audience  interest. 


IF  you're  really  a  vest  pocket  filmer, 
you'll  lay  off  the  dinosaur  subjects 
and  pick  on  something  your  own  size. 
Small  game  is  made  to  order  for  small 
cameras.  Small  cameras  are  built  for 
poking  into  every  nook  and  cranny. 
And  when  human  craniums  once  swing 
into  action,  a  ground  squirrel  or  a  pocket 
gopher  has  about  as  much  privacy  as 
the  proverbial  goldfish. 

It's  one  thing  to  shoot  wildlife  close- 
ups  by  means  of  remote  control  or  use 
a  trigger  contraption  whereby  the  ani- 
mal takes  his  own  picture  as  he  reaches 
for  bait. 

But  to  double  up  for  hours,  with  cam- 
era focused  and  trigger  finger  ready, 
waiting  for  a  prairie  pup  to  emerge 
from  his  home  or  a  chipmunk  to  pop 
out  on  a  limb  probably  demands  a  lot 
more  patience  than  common  sense. 

Yet  there's  a  real  thrill  in  watching 
an  untamed  youngster  steal  out  of  his 
runway,  rise  up  on  his  haunches  within 
reach  of  your  arm,  and  give  you  the 
onceover  while  you  go  through  a  session 
of  moviemaking. 

A  sudden  false  movement  will  send 
him  scampering  into  his  hole,  but  slow, 
steady  movements,  on  the  other  hand, 
will  arouse  curiosity  to  the  point  where 
you  can  literally  talk  him  into  the  de- 
sired poses. 

Pull  Up  Close 
A  movie  outfit  with  a  high-powered 
lens  is  not  so  essential  for  this  sort  of 
work  since  shots  usually  are  made  in 
open  sunlight  or  under  partial  shade. 
An  f/3.5  camera  is  suitable,  but  it  is 
quite   necessary  that  the  lens  focuses 


sharply  somewhere  between  two  and 
four  feet. 

Longer  distances  mean  that  the  re- 
corded image  will  be  so  small  that  pro- 
jection will  be  unsatisfactory.  Hence, 
pull  up  as  close  to  your  subject  as  your 
camera  allows. 

If  your  movie  camera  is  not  equipped 
with    automatic    focusing   or   a  range 


To  p^-event  jittery  movies,  step  on  a  rope 
or  cord  looped  aroiind  one  side  of  the 
camera  for  firm  support. 


finder  accessory,  carry  along  a  pocket- 
size  metal  tape  and  measure  each  dis- 
tance carefully.  By  using  a  small  lens 
stop,  such  as  f/8  or  f/11,  when  weather 
permits,  you  increase  the  depth  of  your 
picture  and  thus  diminish  the  chances 
of  your  fur-clad  subject  from  stepping 
out  of  focus. 

When  you  choose  a  gopher  colony  for 
your  initial  invasion  pick  a  day  when 
the  animals  are  active.  Select  a  likely 
looking  hole  and  squat  noiselessly  be- 
side it.  Measure  the  distance,  set  the 
lens  aperture  and  shutter  speed,  and 
then  make  yourself  comfortable. 

After  footage  is  exposed,  lower  the 
camera  slowly,  crank  up  the  motor, 
check  lens  opening  and  distance,  and 
lift  the  camera  up  into  position  before 
the  face. 

If  this  movement  is  done  casually, 
your   subject   will   become  unwary 
and  unafraid,  even  switching  his  po- 
sition  to  watch   your  antics,  thus 
providing   you   with   a   fresh  shot 
from  a  different  angle. 
A  few  summers  ago  up  in  Alaska  the 
writer  and  his  partner  were  camped  in 
a  dilapidated  log  cabin  on  the  shore  of 
lonely,  mountain-hemmed  Summit  Lake, 
200  miles  inland  from  the  coast. 

Grizzlylike  Squirrels 

Located  high  above  timberline,  we 
were  right  in  the  midst  of  the  big  game 
country,  and  every  day  we  made  regu- 
lar jaunts  into  the  surrounding  brush- 
lands,  picture-hunting  with  movie  and 
minicam. 

But  the  salmon  weren't  running,  and 


December,  1938    •    American  Cinematographer  511 


ik 


1 —  This  IGmm  frame  en- 
largement of  a  youny 
quail  was  taken  from 
the  bird  reel  of  W.  G. 
Sipe  of  Atlanta,  Geor- 
fjia,  whose  film  won 
seventh  place  in  Sports 
Afield's  recent  nation- 
vnde  camera  contest. 
Game  bird  movies  are 
always  interesting. 

2 —  This  youny  ground 
squirrel  was  photo- 
graphed under  our 
cabin  in  Alaska  by  the 
squat-and-ivait  system. 

■3 — A  fur  scarf  dangled 
before  this  zoo  inmate 
held  his  attention  dur- 
ing this  portrait  close- 
up. 

A — This  attempted  jail 
break  would  add  inter- 
est to  any  amateur- 
made  movie. 


5 —  Squirrels  are  natural- 
boi~n  actors.  In  fact, 
you  could  build  up  an 
entire  reel  on  a  day  in 
the  life  of  one  of  these 
furi-y  fellows. 

6 —  Blinds  are  sometimes 
needed  when  photo- 
graphing squatting 
birds. 


//  your  pictures  jump  about  when  taken  hand- 
held, employ  portable  neckpod  now  on  the  market 
when  shooting  small  game  reel. 


Like  these  pelican,  many  of  the  inmates  of  city 
parks  will  furnish  humorous  antics  for  home 
movies  of  small  game. 


the  fish-pawing  bears  which  usually 
come  down  to  feed  at  stream-side  during 
this  season  were  far  back  in  the  hills. 

Beneath  our  cabin,  however,  we  dis- 
covered a  whole  family  of  ground  squir- 
rels of  grizzlylike  proportions,  which 
we  befriended  with  offerings  of  table 
scraps — burned  baking  powder  biscuits 
we  couldn't  devour,  and  homemade  pie 
crusts  that  were  impossible  to  penetrate 
with  human  teeth. 

Small  wonder  that  our  young  models, 
which  provided  excellent  camera  fodder 
in  our  idle  moments,  lived  even  long 
enough  to  pose  for  us  after  such  a  bone- 
busting  diet! 

Hunting  small  game  with  a  movie 
camera  offers  thrills  which  even  big 
game  filmers  will  never  know.  For  those 
purists  who  do  not  film  wildlife  in  cap- 
tivity there  are  opportunities  for  good 
cine  reels  no  farther  away  than  the  door 
of  their  home. 

If  you  bothered  to  make  a  list  of  your 
feathered,  backyard  callers,  you  would 
probably  find  a  score  of  birds  paying 
regular  visits.  What  could -be  more  ap- 
propriate for  the  small  movie  filmer 
than  a  picture  record  of  some  of  these 
chirpsters  in  funny  or  unusual  poses? 

Killing  an  Adage 

Title  the  experimental  reel  "Birds  of 
a  Feather,"  and  show  that  the  old  adage 
about  the  same  critters  flocking  together 
is  all  wrong  by  cutting  in  shots  of  a 
chickadee,  for  instance,  sharing  a  piece 
of  suet  with  a  jay,  or  a  robin  and  flicker 
tugging  at  opposite  ends  of  an  elastic 
earthworm. 

Consult  your  local  library  for  a  rec- 
ord of  those  birds  which  are  neither  na- 
tives of  your  state  nor  migrate  through 
it.  With  this  list  in  hand,  ask  local  nat- 
uralists to  direct  you  to  frequented  spots, 
thus  saving  you  hours  of  searching. 
Many  species,  however,  can  be  filmed 
about  the  house,  with  the  camera  con- 
cealed behind  door  or  window. 


When  filming  bird  silhouettes 
against  the  sky,  employ  a  yellow 
filter  to  bring  out  any  clouds.  Use 
your  cine  titler  to  shoot  close-ups  of 
the  tracks  of  birds  in  mud,  sand  or 
snow,  and  follow  these  track  shots 
with  interesting  bird  close-ups. 

After  the  reel  is  edited  and  titled,  dub 
ill  musical  background  and  sound  ef- 
fects. Double  disc  recordings  of  the 
songs  of  such  birds  as  the  tufted  tit- 
mouse, indigo  bunting,  barn  swallow, 
crow,  redwing  blackbird,  red  bird,  bob- 
white  and  canary  are  available  at  rea- 
sonable cost  from  one  of  the  record  com- 
panies.* 

Every  city  park  has  an  array  of  red 
and  gray  squirrels,  tame  geese  and 
swans,  and  most  every  woodland  camp 
is  alive  with  chipmunks,  field  mice  and 
camp  robbing  jays.  Baiting  will  attract 
newcomers. 

A  close-up  of  a  chipmunk  rolling  a 
prune  stone  about  in  his  jaws  or 
fetching  a  burned  flapjack  from  the 
outdoor  fireplace  will  provide  laughs 
aplenty. 

The  groundhog  and  whistling  marmot 
of  Montana  and  Wyoming  are  compara- 
tively easy  to  photograph,  but  the  prai- 
rie dog  colony,  with  its  alert  army  of 
spies,  is  difficult  to  film  even  with  a 
telephoto. 

Although  predator  hunts  are  becom- 
ing more  commonplace,  what  amateur 
cinematographer  has  ever  attempted  to 
make  a  movie  record  of  such  a  gunning? 
A  fox  movie  would  be  a  distinctive  nov- 
elty apart  from  the  usual  barrage  of 
deer,  moose  and  elk  films  which  the  av- 
erage camera-minded  huntsman  seeks. 

Filming  a  Foxhunt 

Open  your  fox  film  with  a  close-up  of 
a  newspaper  headline  revealing  that  a 
fresh  hunt  is  on.  Next  show  a  close-up 
of  a  shotgun  shell  being  inserted  in  the 


chamber,  a  dog  wagging  his  tail,  a  hand 
patting  his  head,  boots  moving  over  the 
fields,  and  finally  swing  into  a  semi-long 
shot  of  the  posse  itself. 

Concentrate  on  close-ups  of  the  hunt- 
ers' faces,  the  dogs  in  action,  with  a 
much-surprised  fox  hot-footing  it  over 
the  ground.  The  best  camera  angle 
will  be  a  little  ahead  of  and  to  one  side 
of  the  gi'oup. 

After  you  have  filmed  the  dogs  and 
hunters  for  continuity  inserts,  try  for  a 
fox  in  flight.  Rest  your  finger  on  the 
camera  trigger,  and  start  shooting  while 
you  are  bringing  the  camera  up  to  eye 
level.  The  blurred  opening  frames  can 
be  cut  out  when  editing,  but  the  real 
advantage  is  the  quick-trigger  training 
this  exercise  affords. 

To  complete  your  reel,  follow  with 
close-ups  of  skinning  a  hide  and  collect- 
ing the  bounty.    Only  one  other  scene 
should  be  more  highly  priced;  namely, 
a  fox  trailing  and  capturing  a  pheasant! 
When    you    have    exhausted  all 
small  game  possibilities,  try  filming 
a  coon  hunt  at  night  with  flares  for 
illumination.  The  third  prizewinning 
movie  in  Sports  Afield's  recent  na- 
tionwide camera  contest  was  made 
in  this  manner. 

"The  Coon  Hunt,"  400-foot  16mm. 
night  film,  grew  out  of  the  planning  of 
E.  W.  Meyer  of  Reedsburg,  Wis.,  who 
has  been  moviemaking  for  over  seven 
years. 

Photographer  Meyer  burned  up  some 
three  dozen  half-minute  flares  on  two 
dozen  separate  field  trips  to  produce  a 
12-minute  movie. 

To  aid  him  in  his  experiment  and 
safeguard  against  possible  fix'e  hazard 
in  the  woods,  he  built  a  flare  holder  with 


♦  Gennett  Records,  Richmond,  Ind.,  or  Starr 
Piano  Company,  1344  South  Flower  street,  Los 
Angeles,  Calif. 

(Continued  on  Page  525) 


December,  1938    •    American  Cinematographer  513 


EASTMAN'S  NEWEST,  FASTEST  IGmm.  FILM 
CINE-KODAK  SUPER  XX 


M 


ORE  than  twice  as  fast  as  Cine- 
Kodak  Super  Sensitive  Pan,  and  over 
four  times  as  fast  as  regular  Cine- 
Kodak  Pan,  this  new  super-fast  fihn 
more  than  doubles  the  possibilities  for 
making  unusual  movies  under  difficult 
conditions.  Good  movies  much  earlier 
or  later  in  the  day ...  on  dark  days .  .  . 
in  slow  motion,  with  telephotos  or  color 
filters,  under  poor  light.  .  .of  basket- 
ball games,  skating  exhibitions,  parties, 
and  other  indoor  activities . . .  and  mov- 
ies indoors  with  ordinary  room  lamps 
(50  or  60  watts) — all  of  these  are  easy 
with  Cine-Kodak  Super-XX. 

Super-XX  has  such  great  speed  that 
a  neutral  density  filter  (N.  D.  2)  is 
needed  to  prevent  extreme  overexpo- 
sure when  used  with  bright  light.  With 
this  filter,  having  a  factor  of  4x,  Super- 
XX  can  be  exposed  like  regular  Pan. 

Super-XX  is  available  in  16  mm. 
only— 50-foot  roll,  $4;  100-foot  roll, 
$7.50;  200-foot  roll,  $15;  50-foot  maga- 
zines and  packettes,  $4.25.  Prices  in- 
clude processing. 


EASTMAN  KODAK  COMPANY 

ROCHESTER,  N.  Y. 


c>  <c  r*- 


CALLS  FOR  COLOR 


While  you  will  undoubtedly  want  to  make  some  unusual 
Christmas  shots  on  Super-XX,  Kodachrome  is  first  choice 
for  holiday  movies — reproducing  all  of  the  scenes,  decora- 
tions, and  activities  in  their  bright  seasonal  colors.  Avail- 
able in  two  types  for  both  8  mm.  and  16  mm.  cameras — 
regular,  for  color  movies  with  daylight — and  Type  A,  for 
use  with  artificial  light.  Prices,  both  types :  For  Cine-Kodak 
Eight,  $3.75;  for  16  mm.  cameras:  50-foot  rolls,  $4.75; 
100-foot  rolls,  $9;  50-foot  magazines  and  packettes,  $5.* 


.514     Amkrican  Cinematographer    •    December,  1938 


Rocking  tlie  Eartli 
in  Miniature 

By  Richard  H.  Lyford. 


THE  Atlas  Mountains  stood  gal- 
lantly, peacefully  in  the  late  after- 
noon sun  at  the  northern  rim  of 
Africa — a  guardian  to  the  low,  flat 
expanse  of  desert  to  the  south,  an 
obstacle  to  the  calm  blue  water  of  the 
Mediterranean. 

Suddenly — there  was  a  terrific  explo- 
sion! One  of  the  peaks,  from  summit  to 
base,  cracked  in  pieces  and  blasted  sky- 
ward, five  miles  up! 

The  Atlas  range  was  no  longer  a  guar- 
dian— no  longer  an  obstacle.  The  blue 


water  of  the  Mediterranean  turned 
black  as  it  rushed  fiercely  through  a  gi- 
gantic, smoldering  channel  and  churned 
up  the  vast  sands  of  the  Sahara  into  a 
murky  sea. 

Someone  cried  in  the  dark,  "My  God! 
Where  in  the  world  did  you  get  those?" 

I  spun  around,  cut  the  projection 
switch,  turned  on  the  lights.  A  friend 
of  my  brother's  had  stepped  silently  into 
my  projection  room.  We  were  the  first 
witnesses  of  a  newly  developed  roll  of 
film.  I  had  forgotten  the  eruption  se- 
quence was  so  near  the  start  of  the  roll 
and  it  took  me  by  surprise  as  well. 

Ninth  Movie 

Five  days  previous  I  had  pushed  the 
exposure  release,  hollered,  "Let  'er  go!" 
and  the  explosion  came  as  I  closed  my 
eyes,  got  plastered  with  dirt  and  soaked 
with  water.  What  the  results  might  be 
on  film,  I  dared  not  imagine. 

The  "eruption"  scene  was  one  of  the 
many  miniature  sequences  staged  for 
our  latest  16mm  feature-length  produc- 
tion "As  The  Earth  Turns,"  completed 
last  February  in  Seattle. 

Since  February,  1932,  with  the  aid  of 
a  group  of  dramatically  inclined  friends, 
most  of  them  in  college  at  present,  I 
had  been  producing  amateur  photoplays. 


This  was  my  ninth  attempt.  Originally 
I  had  presented  stage  plays  in  my  base- 
ment theatre  since  1924. 

My  motion  picture  organization, 
R.  H.  L.-National  Productions,  was  a 
result  of  a  little  theatre  group  "gone 
Hollywood." 

I  never  seemed  to  have  trouble  writing 
stories,  and,  filming  but  nine  pictures, 
have  written  well  over  fifty  complete 
scripts  that  were  throvra  aside,  many  of 
them  because  the  production  costs  would 
be  too  high. 

In  July,  1937,  another  wild  idea  struck 
me  like  a  sledgehammer.  I  sat  down  at 
the  typewriter,  started  to  "clack."  Japan 
and  China  were  at  war,  as  was  Spain, 
in  fact  all  the  European  countries  were 
barking  at  each  other. 

What  a  perfect  set-up  for  filming  a 
prediction  of  the  next  world  war!  What 
an  excellent  opportunity  to  make  a  plea 
for  peace. 

When  the  Urge  Strikes 

Within  a  week  the  script,  with  all  the 
spoken  lines  and  each  individual  shot, 
was  complete.  I  drew  up  the  plans  of 
every  single  set  and  prop,  figured  out 
my  cast,  what  type  of  makeup  and  cos- 
tume each  player  would  wear,  and  even 


December,  1938    •    American  Cinematographer  515 


went  on  short  trips  to  select  ideal  spots 
for  "location  shots." 

But  when  an  idea  like  that  strikes 
me  I've  got  to  get  it  down  on  paper 
before  I  feel  normal  again.  Like  a 
locomotive  releasing  steam,  I  antici- 
pated another  "dead  script,"  but  fig- 
ured I  would  have  a  lot  of  fun  digging 
it  up  in  a  year  or  so  and  reading  it 
over. 

An  older  friend  of  mine,  who  knows 
photography  and  whose  criticism  I  al- 
ways have  valued,  read  the  script  a  few 
days  after  its  completion  and  remarked, 
"Don't  tell  me  you're  going  to  make 
this?" 

"Why  not?"  I  asked. 

"It's  impossible!  There's  a  limit  to 
everything  and  you've  practically  reached 
yours  in  'Huxley  Inn'." 

Rash  Promise 

"The  Mystery  at  Huxley  Inn"  had 
been  filmed  the  year  before.  His  state- 
ment caused  me  to  snap  back  a  challeng- 
ing expression.  I  had  always  regarded 
that  picture  as  just  a  so-so. 

"If  you  can  make  this  picture  accord- 
ing to  the  script,  I'll  eat  my  hat!"  That 


Producer  in  his  ivorkshop  building  min- 
iatures for  "As  the  Earth  Turns." 


final  statement  started  the  fuse  burning. 

Exactly  eight  days  later.  Miss  Barbara 
Berger,  talented  leading  woman  from 
three  of  our  past  productions,  stepped  on 
Set  No.  1  and  the  United  States  naval 
wireless  station  sequence  was  under  way 
for  R.H.L.-National  Production  Number 
67  (58  stage  plays,  9  photoplays). 

"As  the  Earth  Turns"  presents  a  fan- 
tastic story  in  the  near  future.  An  in- 
genious scientist  concocts  earthquakes, 
floods,  tidal  waves,  eruptions  and  train 
wrecks  from  his  futuristic  hide-out  in 
the  wilds  of  Labrador,  in  an  effort  to  end 
a  horrible  European  war  which  is  exter- 
minating humanity  in  gross  lots. 

His  power  is  recognized  only  by  a  re- 
tired physics  professor  and  two  news- 
paper reporters  who  make  a  desperate 
search  to  locate  the  scientist  before  he 
goes  completely  berserk  and  rocks  the 
earth  upside  down. 

The  dramatic  end  of  the  story  was 
placed  on  the  shoulders  of  Barbara  Ber- 
ger and  Alan  Hoelting,  the  news  re- 


porters, and  Edwin  C.  Frost,  the  pro- 
fessor. However  the  complete  success  of 
the  picture  depended  upon  special  effects 
— miniatures. 

Four  Years  Making 

I  had  learned  a  great  deal  about 
miniatures  in  a  previous  feature-length 
picture,  "The  Sea  Devil,"  a  world  war 
story  which  we  started  in  193.3  and  final- 
ly completed  in  1937.  For  any  "scaled 
down"  bombardment  scenes  we  used 
dynamite  caps  with  2^,4 -inch  dynamite 
fuses  which  were  supposed  to  go  off  in 
four  seconds. 

This  gave  two  seconds  to  get  away  for 
the  unfortunate  fellow  elected  to  light 
the  fuse,  and  two  seconds  for  me  to  get 
the  camera  running  before  everything 
happened.  This  system  worked  off  and 
on  and  was  eventually  banned  after  a 
disastrous  incident. 

A  miniature  submarine  was  supposed 
to  torpedo  a  miniature  oil  tanker  which 
was  scaled  down  to  three  feet  in  length 
and  had  every  minute  detail  down  to 
railings,  stairways,  anchor  chains,  etc. 
Imbedded  in  the  hull  were  five  dynamite 
caps  waxed  and  tied  together  and  con- 


.'516     American  Cinematographer    •    December,  1938 


Shooting 
imjjortayit 
scene  on  one 
of  25  sets 
built  for 
"As  the 
Earth 


nected  to  our  standard  2  ^'2 -inch  fuse 
which  stuck  out  of  a  side  port  hole. 

It  floated  ten  feet  off  the  shore  of 
Lake  Washington  awaiting  its  doom  as 
one  of  my  friends  on  the  "technical 
staff"  waded  out  in  bare  feet,  struck  a 
match,  lit  the  fuse  and  made  a  quick 
get-away. 

"Bam"  Just  Delayed 

I  sat  on  the  shore  tensely  as  good  Pan 
film  whined  through  the  sprockets  at 
sixty-four  per!  Four  seconds  passed — as 
did  five,  six,  seven  and  ten. 

At  twenty  seconds  I  was  a  complete 
nervous  wreck,  and  stopping  the  camera, 
mopped  my  brow.  A  forty-two  foot  shot 
of  a  ship  floating  peacefully  on  the  water 
lay  wound  up  on  the  take-up  spool. 

"That  five  cap  business  apparently 
doesn't  seem  to  work,"  I  muttered, 
"We'll  try  it  again." 

"Bam!"  The  ship  blew  into  a  thousand 
splinters!  Flabbergasted,  I  stood  with 
camera  idle  at  my  side,  watching  the 
funnel  spin  fifty  feet  into  the  air.  The 
"fuse"  system  was  discarded. 

In  "As  The  Earth  Turns"  the  train 
wreck  sequence  has  stirred  up  more 
audience  reaction,  caused  more  compli- 
ments and  brought  up  more  questions 
than  any  other  single  scene  in  the  pic- 
ture. 

A  strange  tidal  wave  created  by  Pax, 
the  scientist,  has  washed  away  a  section 
of  the  famous  trestle  which  runs  across 
Salt  Lake.  A  westbound  train,  failing  to 
receive  the  warning,  rushes  out  on  the 
trestle. 

Fooling  Public 

The  locomotive  approaches  the  break, 
roars  off  the  end  and  plunges  into  the 


Heroine  Barbara  Beryer,  in  gay  mood, 
tries   to   tease   a  smile   out   of  serious 
Producer  Lyford. 


water  as  the  cars  helplessly  follow  like 
a  string  of  sausages.  Actually  there 
were  two  trains — two  trestles.  I  bor- 
rowed a  four-foot  steel  model  of  a  per- 
fectly detailed  locomotive  but  unfortun- 
ately couldn't  find  passenger  cars  to 
match. 

The  engine  was  run  off  its  trestle 
alone — then  the  cars,  which  were  only 
fourteen  inches  long,  were  filmed  sepa- 
rately on  a  smaller  trestle  with  the  cam- 
era moved  closer  to  keep  everything  in 
proportion.  Special  cutting  made  this 
break  unknown  to  the  audience. 

The  earthquake  scene  ran  a  close  sec- 
ond to  the  train  wreck,  but  was  not 
staged  in  miniature.  A  two-story  col- 


lapsible set,  plus  flour,  plaster,  wooden 
bricks  and  4  by  4  beams  gave  the  players 
involved  an  uneasy  night's  shooting. 

The  main  flaw  of  the  mountain  erup- 
tion was  due  to  the  fact  that  the  model 
was  built  too  small  and  shooting  at  sixty- 
four  frames  a  second  was  not  enough  to 
slow  down  the  explosion.  The  set  had 
four  mountains  built  out  of  sand,  dirt, 
sponge  rubber  and  fake  snow. 

The  highest  peak  stood  about  twenty 
inches  and  had  they  all  towered  about 
three  feet  and  loaded  with  explosives 
the  effect  would  have  been  more  realistic. 

Three  Plane  Crashes 

The  script  called  for  three  airplane 
crashes,  the  most  realistic  one  a  German 
D-7  Fokker  which  was  shot  down  in 
flames  for  a  scene  that  jumped  back  to 
the  World  War  in  1918.  The  more  im- 
portant crash  sequence  earlier  in  the  pic- 
ture was  not  as  successful. 

In  the  story  the  reporter  and  profes- 
sor finally  locate  Pax's  hideout  in  Labra- 
dor and,  knocking  the  pilot  out,  make  a 
get-away  in  a  ten  place  Lockheed  trans- 
port with  a  Boeing  B-17  four-motored 
army  bomber  in  hot  pursuit. 

Losing  the  bomber  in  the  fog  over 
Quebec  they  end  up  by  crashing  in  the 
Labrador  mountains.  I  built  a  scale 
model  of  a  Lockheed  with  a  forty-two 
inch  wingspread,  and  for  the  crash  sub- 
stituted a  fragile  tin  foil  left  wing  and 
engine  necelle  in  place  of  the  original 
wooden  one. 

Behind  Schedule — No  Retake 

The  plane  was  supposed  to  plunge 
into  a  canyon,  on  wires,  skim  the  ground, 
shear  off  the  wing  on  a  mound  and  slide 
along  on  its  belly. 

When  it  hit  the  mound,  the  more  rigid 
center  section  caught  hold,  stopping  the 
plane  dead  in  its  tracks  and  spun  it  up 


December,  1938    •    American  Cinematographer  517 


Pux,  dictntar  of  human  destiny,  played 
by  producer. 

on  the  nose,  where  it  paused  a  moment, 
then  dropped  back.  The  model  was  too 
badly  damaged  to  make  a  quick  repair 
and,  being  behind  schedule  at  the  time, 
I  never  replaced  the  scene. 

The    two    explorers,    after    a  climb 


through  the  mountains,  stumble  on  to 
Pax's  home  in  a  valley  and  find  the 
heroine,  whom  Pax  has  kidnapped  be- 
cause of  her  discovery  of  his  location, 
safe  and  well  taken  care  of. 

At  this  point,  Pax,  who  is  seeking 
eternal  peace  on  earth,  finally,  by  wire- 
less, manages  to  make  the  leading  pow- 
ers draw  up  an  armistice.  Twenty  min- 
utes later,  Paris  is  completely  destroyed 
by  an  enemy  force. 

His  peace  treaty  being  violated  by  the 
European  powers,  Pax  decides  to  go 
ahead  with  his  plans  to  rock  the  earth 
and  wipe  out  civilization. 

Villain  Destroyed 

The  girl  then  pleads  with  him  that  as 
long  as  humanity  exists  there  will  always 
be  conflict — war.  "Death  is  too  easy  a 
punishment.  Give  them  life,  and  let 
them  sufi'er  the  aftermath." 

For  an  instant  Pax  is  stymied  by  her 
statement,  then  regains  his  original  de- 
termination, throws  the  fatal  switch,  but 
something  goes  haywire  with  his  machin- 
ery. A  short  circuit  creates  havoc  and 
destroys  his  entire  power  plant  and 
small  "city." 

This  called  for  miniatures  and  plenty 
of  them!  Rod  Basset  and  Jim  Leipper, 
two  veteran  members  of  the  technical 
staff,  stayed  up  two  nights  with  me  and 
together  we  built  the  entire  set-up,  which 
covered  an  area  of  100  square  feet. 


Each  individual  building  or  tank  was 
blown  to  bits — the  explosives  being 
hooked  up  to  a  switch  box  and  set  off 
electrically. 

For  many  of  the  miniature  shots  I 
borrowed  a  Victor  Model  3,  which  had  a 
high  speed  of  sixty-four  frames  and  a 
fast  Zeiss  f:1.4  lens.  Otherwise  I  used 
my  faithful  Eastman  model  B-f:1.9.  In 
all,  twenty-five  sets  were  built,  ten  of 
which  were  miniature. 

Uses  .3000  Feet  16  mm. 

The  picture  was  completed  in  seven 
and  a  half  months  and  ran  six  weeks  at 
the  Oriental  theatre  (my  basement 
theatre  in  Seattle)  and  three  weeks  "on 
the  road." 

Over  three  thousand  feet  of  16mm. 
film  was  used — the  last  two  hundred  feet 
being  climaxed  in  color.  The  film  is  com- 
pletely scored  with  sound  effects  and 
timed  to  the  tune  of  Igor  Strawinsky's 
musical  masterpiece  "Le  Sacre  du  Prin- 
temps." 

Neighborhood  friends  who  were 
dressed  up  in  "tin  hats,"  cartridge  belts 
and  gas  masks  for  the  war  scenes  boosted 
the  cast  up  to  fifty-two  players. 

"As  The  Earth  Turns,"  filmed  almost 
on  a  bet,  was  really  an  experiment  in 
miniatures.  However,  my  friend  men- 
tioned earlier  in  the  story,  apologized 
for  his  statement  concerning  the  impos- 
sibility of  producing  such  a  picture,  but 
his  hat  was  never  devoured. 


KODAK  DUPLICATING  16MM. 
COLOR  FILM 


USERS  of  16mm.  motion  picture 
cameras,  either  silent  or  sound, 
can  now  have  their  Kodachrome 
reels  duplicated  in  full  color,  and  in  a 
quality  comparing  favorably  with  the 
originals,  the  Eastman  Kodak  Company 
announces. 

Technical  details  of  the  duplicating 
process  have  been  worked  out  at  the 
Kodak  laboratories  in  Rochester,  and  for 
the  present  all  duplicates  will  be  made 
there.  Modestly  priced,  the  duplicates 
will  cost  only  a  fraction  more  than  an 
equivalent  length  of  unexposed  16mm. 
Kodachrome  Film. 

Any  number  of  duplicates  can  be  made 
from  a  chosen  Kodachrome  reel.  This 
facility  will  be  of  particular  value  in 
the  production  of  commercial  and  edu- 
cational motion  pictures,  where  a  num- 
ber of  copies  of  one  film  must  be  avail- 
able for  widespread,  simultaneous  dis- 
tribution. 

Use  of  duplicates  makes  this  possible 
at  small  cost,  and  at  the  same  time 
eliminates  risk  of  damage  to  the  orig- 
inal, which  often  could  not  be  retaken. 

All  editing  of  the  film  can  be  done  be- 
fore it  is  sent  in  for  duplication.  Spe- 


Settiny  'tip  Pax's  hideout. 


cial  effects  in  the  original,  such  as  fades, 
wipes,  and  lap  dissolves,  also  appear  in 
the  duplicate.  However,  if  these  effects 
are  not  present  in  the  original,  they  can- 
not be  inserted  during  duplication. 

When  a  silent  film  is  to  be  duplicated 
only  the  film  need  be  sent  to  Rochester. 
But,  when  a  sound  film  is  sent  in  for 
duplication,  the  maker  must  include  a 
35mm.  or  16mm.  matched  positive  print 


of  high  quality — either  variable  area  or 
variable  density — and  must  indicate 
clearly  and  accurately  the  proper  start- 
ing points  on  both  the  sound  track  and 
the  16mm.  original. 

Prices  for  the  full-color  duplicates 
from  16mm.  Kodachrome  film  are: 

Silent  Sound 

Orders    for   77   to  100 

feet   $10.00  S12.50 

Orders  for  100  feet  or 

more,  a  foot  10  .12% 

Orders  for  less  than  77 

feet,  a  foot  13  .16^4 

Minimum  charge    6. .50  8.15 


518     American  Cinematographer    •    December,  1938 


BELL  &  HOWELL'S  FILMO 
TURRET  8  IS  READY 


THE  big  news  in  amateur  movie 
camera  realms  this  month  is  Bell 
&  Howell's  announcement  of  a  tur- 
ret model  8  mm.  Filmo  camera  that  "has 
evei-ything,"  its  inakers  say. 

In  a  camera  so  compact  it  can  be 
cupped  in  two  hands  is  incorporated  a 
combination  of  features  that  would  glad- 
den the  heart  of  a  pro  cameraman.  Yet 
operation  of  the  Filmo  turret  8  is 
claimed  to  be  so  simple  and  fool-proof 
anyone  who  can  read  easy  directions 
can  become  quickly  conversant  with 
every  feature  and  its  application. 

The  camera  is  characterized  by  a  lens 
turret  which  accommodates  three  photo- 
graphic lenses  and  also  carries  three 
positive  viewfinder  objectives.  As  the 
turret  is  rotated,  bringing  a  photo- 
graphic lens  into  position  before  the 
aperture,  the  correct  viewfinder  auto- 
matically is  positioned  in  fi'ont  of  the 
finder.  It  is  thus  impossible  to  use  any 
one  of  the  three  lenses  with  the  wrong 
viewfinder. 

Another  unusual  feature  is  the  per- 
manent critical  focuser,  located  horizon- 
tally opposite  the  photographic  aper- 
ture. By  rotating  the  turret  through 
one-third  of  a  revolution  the  lens  in  use 
is  brought  into  position  before  the  crit- 
ical focuser.  The  image  presented  to 
the  eye  by  the  critical  focusing  system 
is  magnified  eight  times,  permitting  very 
precise  visual  focusing. 

The  positive  type  viewfinder  furnished 
in  the  new  camera  is  the  same,  in  effect, 
as  that  used  on  professional  cameras 
and  incorporated  in  the  recently  an- 
nounced Filmo  141  16  mm.  camera.  In 
this  viewfinder  the  picture  area  is  pro- 
jected in  such  a  way  it  cannot  vary  with 
the  angle  at  which  the  eye  looks  into 
the  eyepiece. 

The  starting  button  is  situated  in  a 
new  position — on  the  visible  rear  sur- 
face of  the  turret  support  plate.  In 
this  position  it  is  not  easily  moved  by 
accident,  yet  is  extremely  convenient  to 
operate.  The  starting  button  does  dou- 
ble duty,  in  that  a  downward  pressure 
results  in  motion  pictures  and  an  up- 
ward pressure  exposes  single  frames, 
making  possible  the  production  of  ani- 
mated cartoons  and  trick  titles. 

The  two  models  offer  two  speed  ranges 
of  four  speeds  each — Model  134-K,  8, 
16,  24  and  32  frames  a  second;  Model 
134-J,  16,  32,  48  and  64  frames  a  second. 

Each  model  will  be  furnished  with 
one  lens— a  121/2  mm.  F  2.5  U.F.  Myal 
Anastigmat,  and  corresponding  view- 
finder  objective,  as  regular  equipment. 
-Additional  lenses  offered  as  supplemen- 
tary equipment  include  the  following,  in 
screw  type  mounts: 

One-half-inch  F  2.5  B&H  Anpax  in 
focusing  mount;  1-inch  F  2.7  U.F.  Tay- 
lor-Taylor  Hobson   Lens;    1-inch   F  2.7 

New   Bell   &   Howell   Filmo    Turret  8 
moxne  camera. 


TTH  Lens  in  focusing  mount;  1-inch 
F  1.5  TTH  Lens  in  focusing  mount; 
lV2-inch  F  3.5  TTH  Lens  in  focusing 
mount;  lV2-inch  F  3.5  B&H  Telate  Lenn 
in  focusing  mount. 

Viewfinder  objectives  are  available  for 
use  with  above  1-inch  and  l^-^-inch 
lenses,  as  is  also  a  combination  carrying 
case  designed  especially  for  the  Filmo 
Turret  8. 

New  Smart  Darkroom  Outfit 
Introduced  by  Agfa  Ansco 

Amateur  photographers  will  be  inter- 
ested to  know  that  an  addition  has 
been  made  to  the  line  of  Agfa  photo- 
graphic equipment — a  deluxe  darkroom 
outfit  that  provides  all  the  essential 
materials  for  developing  and  printing. 
This  outfit,  which  is  packaged  in  a  sub- 
stantial wooden  box  with  a  dark  walnut 
finish,  includes  a  new  Agfa  masking 
print-frame,  a  new  Agfa  Safelight  with 


bulb  and  filters  for  use  when  handling 
paper  or  film,  and  a  copy  of  the  popular 
60-page,  illustrated  book,  "Developing 
and  Printing  Made  Easy." 

Also  included  in  the  new  outfit  are 
three  5  by  7  inch  steel  trays  finished 
with  white,  acid-resisting  enamel;  one 
dozen-sheet  package  of  4  by  6  Convira 
paper,  one  2-ounce  bottle  of  Rodinal  de- 
veloper, five  M-Q  developer  tubes,  one 
half-gallon  size  can  of  Agfa  acid  hypo, 
one  eight-ounce  footed  glass  graduate, 
one  10-inch  stirring  rod,  one  stainless 
steel  thermometer,  two  stainless  steel 
film  clips,  one  four-inch  print  roller,  four 
12  by  12-inch  blotters  for  drying  dull- 
surfaced  prints  and  one  10  by  12-inch 
ferrotype  tin  for  drying  glossy  prints. 

The  new  Deluxe  Darkroom  Outfit  is 
made  by  Agfa  Ansco  Corporation  in 
Binghamton,  N.  Y.,  and  retails  at  89.75. 

B&H  Promotes  Crim 

Bell  &  Howell  announces  the  ap- 
pointment of  W.  E.  Crim  as  assistant 
controller. 

For  twelve  years  Mr.  Crim  was  with 
the  Chicago  ofiice  of  Price,  Waterhouse 
&  Company  and  for  four  years  with 
the  AUen-A   Company,  Kenosha,  Wis. 


December,  1938    •    American  Cinematogkapher 


519 


INJECTING 
STORY 
INTEREST  IN 
NON.  DRAMA 


By  ROBERT  W.  TEOREY 


SCORES  of  articles  are  written  de- 
scribing methods  in  achieving  cor- 
rect exposure,  composition  and 
lighting  when  taking  motion  pictures. 
In  carefully  following  these  rules  we 
generally  procure  many  excellent  shots 
of  which  we  are  justly  proud — and  a 
sense  of  satisfaction  usually  is  felt  in 
what  we  consider  a  job  well  done. 

But — is  the  job  well  done?  What 
action  do  we  take  with  these  pictures 
after  the  roll  is  returned  from  the  proc- 
essor to  make  them  a  really  excellent 
source  of  entertainment  to  our  friends? 
There  is  no  doubt  that  we  are  well  satis- 
fied with  the  roll  so  far  as  pictures  are 
concerned,  but  now  that  we  have  them, 
their  fullest  possibilities  for  screen  en- 
joyment should  be  carefully  considered 
in  every  respect. 

The  first  task  is  to  edit  the  roll  to 
work  related  scenes  together.  During 
this  procedure  all  objectionable  under 
and  over  exposures  should  be  cut  out 
and  discarded.  When  this  is  done  the 
tempo  of  the  roll  demands  consideration 
and  shots  that  drag  or  are  overlong 


should  be  pared  down  to  the  correct 
length. 

When  the  editing  has  been  completed 
we  have  a  roll  of  film  with  scenes  related 
and  smoothly  running  during  projection. 
Our  work  is  far  from  completed,  though, 
for  now  some  method  of  knitting  the 
shots  together  should  be  employed  and 
in  most  cases  this  is  done  with  the  aid 
of  titles. 

Inject  Thread  of  Story 

However,  titles  alone  make  our  scenics 
or  documentaries  merely  a  series  of  pic- 
tures with  names  or  descriptions  tagged 
to  them,  so  an  addition  to  titles  is  ex- 
tremely desirable  to  aid  in  the  knitting 
process  and  add  story  interest. 

There  are  several  ways  in  mind  that 
film  continuity  and  a  thread  of  story  can 
be  injected  into  a  reel,  and  no  doubt 
there  are  others  that  can  be  worked  up 
depending  upon  the  material  you  have 
to  work  with. 

A  series  of  shots  tied  together  with 
titles  and  a  measure  of  story  interest 
will  when  presented  to  a  critical  audi- 


Set-tip  of  camera,  tiller  and  projector  for 
taking  back-pi'ojection  superimpositions. 


ence  win  the  fullest  approbation,  conse- 
quently warming  your  heart  with  an 
inner  satisfaction  that  a  little  extra  time 
and  work  spent  in  preparing  your  pic- 
tures for  viewing  is  well  worth  while. 

The  latter  idea  has  often  been  used 
to  tie  scenes  together.  I  used  a  varia- 
tion of  this  with  some  still  photographs 
somewhat  in  the  following  manner.  The 
opening  scene  fades  into  view  a  young 
woman  opening  a  letter  containing  type- 
written sheets  and  a  sheaf  of  snapshots. 

As  she  reads  the  letter  an  excerpt 
flashed  on  the  screen  serves  as  a  title 
and  explains  that  the  pictures  were 
snapped  while  on  vacation  and  will  give 
her  an  idea  of  the  places  visited. 

Cut  in  Short  Flashes 

A  cutback  to  the  young  woman  shows 
her  picking  up  one  of  the  snapshots  for 
examination.  From  there  the  scene  cuts 
to  the  first  motion  picture  shot  of  my 
scenic.  Short  flashes  of  the  subject  look- 
ing at  the  stills  were  cut  into  the  reel 
to  carry  on  the  idea  while  more  excerpts 
from  the  letter  served  as  titles  where 
needed. 

Upon  conclusion  the  letter  and  snap- 
shots are  shown  being  returned  to  the 
envelope  with  a  fade-out  concluding  the 
performance.  Quite  simple,  yet  very 
eff'ective. 

During  my  first  couple  years  of  shoot- 
ing I  secured  many  shots  of  family  and 
friends.  They  proved  to  be  just  a  lot 
of  snapshots  on  moving  picture  film,  so 
I  decided  to  work  them  into  a  photo 
album  idea.  The  opening  scene  brings 
to  view  the  family  seated  on  the  daven- 
port examining  a  snapshot  album. 

As  the  cover  is  opened  a  close-up  is 
revealed  taken  over  the  shoulder  of  the 
one  holding  the  book.  The  title  of  the 
picture,  "The  Family  Album,"  was  let- 


Left,  enlargement  from  87tun  color  scene 
creating  illusion  of  reverie. 

Right,  enlargement  from  color  pictures 
of  8mm  frame  of  title  layout  used. 


520     Amkrican  Cinematographer    •    December,  1938 


tered  on  the  first  sheet  in  block  letters. 
WTiit*  ink  was  used  for  the  purpose. 

The  sheet  is  turned  bringing  to  view 
the  title  of  the  first  scenes  in  the  album. 
As  this  sheet  is  turned,  a  glimpse  of 
stills  on  the  next  page  is  seen  which  cuts 
immediately  to  the  first  movie  shot  de- 
scribed by  the  title. 

Result  Worth  While 

Several  short  cuts  of  the  faniily  pour- 
ing over  the  album  are  cut  into  the  reel, 
while  the  title  pages  flash  on  the  screen 
wherever  required.  Very  little  effort 
was  required  in  working  up  this  idea,  yet 
the  result  made  something  interesting 
out  of  the  pictures  and  we  enjoy  seeing 
them  now  where  before  the  roll  merely 
caught  dust. 

About  a  year  ago  I  shot  about  200 
feet  of  8mm  color  film  in  Hawaii.  After 
viewing  the  results  on  the  screen  sev- 
eral times  I  felt  very  dissatisfied  with 
them.  Pictorially  all  right — but  story 
and  continuity  as  far  as  possible  in  a 
scenic  entirely  lacking. 

Three  of  the  shots  were  titled  with 
views  of  sign  posts  erected  by  the  Hawaii 
Tourist  Bureau.  The  make-up  of  this 
descriptive  marker  consisted  of  a  figure 
of  King  Kamehameha  in  a  pointing  atti- 
tude secured  to  a  post,  while  underneath 
the  figure  was  hung  a  descriptive  sign. 

Finding  that  several  additional  titles 
were  needed  and  rather  than  cut  out  my 
natural  titles  I  decided  for  the  sake  of 
uniformity  to  make  a  replica  of  the  King 
from  cardboard,  which  I  painted  with 
water  colors. 

Erecting  the  figure  on  a  wooden  stand 
I  hand  printed  my  titles  with  black  ink 
on  white  cardboard  which  could  be  inter- 
changed on  the  figure.  The  use  of  a 
small  palm  and  the  blue  sky  solved 
titling  to  my  entire  satisfaction. 

Back  Projection  Enters 

ISly  next  task  was  to  tie  in  an  idea  for 
story  interest.  After  a  deal  of  thought 
I  decided  on  a  reverie  theme  to  run 
through  the  reel  and  promptly  titled  my 
film  "Hawaiian  Reverie."  To  carry  out 
the  idea  necessitated  a  combination  of 
back  projection,  masking  and  double 
exposure. 

This  sounds  too  complicated  and  diffi- 
cult, but  I  found  it  quite  easy  to  handle 
and  the  results  quite  ably  demonstrate 
it  can  be  done  as  explained  in  the 
following. 

Having  taken  the  movies  while  in 
Hawaii  I  decided  I  should  be  the  one  to 
day-dream  about  the  beauties  of  the 
Paradise  of  the  Pacific.  The  fade-in  on 
the  opener  brings  to  view  a  medium  long 
shot  of  myself  seated  in  an  easy  chair. 
I  am  engaged  in  reading  a  magazine. 

Having  a  desire  for  a  cigarette  I  pick 
girl.  Cutting  back  to  the  first  scene  I 
lower  the  picture  to  my  lap,  lean  back 
up  a  package  on  an  end  table  at  my  side 


Hoc  fire  the  two  new  tripods  issued  by 
Agfa.  On  the  left  is  the  No.  1,  extended 
and  collapsed  ($3.95),  and  on  the  right 
the  No.  2,  also  collapsed  and  extended 
($i.95). 


and  light  up.  As  I  replace  the  cigarettes 
my  eye  notes  a  framed  photograph  rest- 
ing on  the  table.  Dropping  the  maga- 
zine I  pick  up  the  picture  and  study  it. 

A  close-up  cut  in  at  this  point  reveals 
a  bust  size  likeness  of  a  lovely  Hawaiian 
into  the  chair  and  slowly  puffing  on  the 
cigarette  I  gaze  in  abstraction  toward 
the  ceiling. 

The  next  shot  is  the  superimposed 
back  projection  on  a  medium  close-up. 
As  this  scene  opens,  the  double  expos- 
ures fade  in,  filling  the  upper  corner 
opposite  my  gaze  creating  the  reverie 
eff^ect.  This  cuts  into  the  opening  scenic 
taken  upon  my  arrival  in  Hawaii. 

Carrying  on  Idea 

Short  flashes  of  these  double  exposed 
scenes  were  cut  into  the  reel  at  various 
places  to  carry  on  the  idea.  Unon  con- 
clusion, a  cut  back  to  myself  still  seated 
in  the  easy  chair  shows  me  coming  to 
life,  replacing  the  picture  on  the  stand 
and  crushing  the  burned  dowTi  cigarette 
butt  in  an  ash  tray  as  the  scene  fades 
out  in  the  finale. 

Needless  to  say  the  completed  picture 
changed  my  entire  outlook  on  it  to  one 
of  pride  in  accomplishment  and  desire 
to  have  my  friends  view  the  result. 

To  gain  the  desired  effect  involved  in 
the  reverie  I  timed  the  leader  on  a  new 
roll  of  film  threaded  in  my  camera  and 
shot  several  feet  of  the  medium  close-up 
of  myself  puffing  on  the  cigarette  and 
gazing  toward  the  ceiling.  The  length 
of  this  shot  was  also  timed  for  reference 
in  making  the  double  exposure. 

The  camera  set-up  on  this  scene  was 
more  or  less  from  the  side  to  show  a 
semi-profile  of  myself  with  the  back  of 
the  chair  near  one  side  of  the  frame  line 
to  allow  ample  room  for  the  superimpo- 
sition  on  the  other. 

The  chair  was  far  enough  removed 
from  the  wall  so  that  the  latter  would 
not  register  distinctly  in  the  picture, 
thus  permitting  the  double  exposure  to 
stand  out  clearly. 

When  the  roll  of  film  had  been  com- 
pletely exposed  I  reloaded  it  into  the 
camera,  timed  the  leader  as  in  the  begin- 


ning and  found  myself  ready  to  shoot 
my  back  projection.  I  set  my  projector  on 
a  table  and  threaded  my  Hawaiian  reel. 

Getting  Right  Size 

I  next  secured  my  camera  to  a  titler 
and  set  this  combination  on  books  until 
the  easel  was  opposite  and  a  few  inches 
from  the  projection  lens.  A  piece  of 
ground  glass — frosted  side  toward  the 
camera— was  then  slipped  into  the  easel 
of  the  titler. 

A  square  of  black  paper  was  next  cut 
to  the  size  of  the  ground  glass.  An  upper 
quarter  section  was  cut  away  while  the 
remaining  mask  was  fitted  into  the  easel 
in  front  of  the  glass  and  adjusted  by 
means  of  the  title  framing  mask  until 
only  the  upper  quarter  desired  of  the 
titling  area  or  ground  glass  in  this  case 
was  visible. 

On  this  section  I  next  projected  my 
film,  moving  the  projector  and  focussing 
until  the  required  size  of  image  was 
achieved. 

Using  a  meter  I  measured  the  foot 
candles  from  the  camera  angle  of  this 
tiny  area  and  found  that  f5.6  seemed  to 
be  a  general  average.  My  projector  was 
running  at  approximately  24  frames  a 
second,  thus  preventing  synchronization 
with  the  camera  shutter  with  resultant 
dark  frames  that  would  tend  to  spoil  the 
illusion. 

Rethreading  the  projector  for  the 
actual  taking  of  the  scenes,  I  darkened 
the  room,  started  the  machine  and  as  the 
first  scene  required  for  my  effect  flashed 
on  the  ground  glass  I  started  the  camera 
and  faded  in  for  the  scene  used  in  the 
opening  reverie. 

From  then  on  it  was  just  a  matter  of 
starting  the  camera  as  desired  scenes 
for  cut-ins  throughout  my  scenic  ap- 
peared on  the  frosted  glass. 

The  result  of  the  masked  super- 
imposed back  projection  was  all  I  could 
ask  for,  and  although  a  slight  flicker 
was  apparent  in  it  due  to  the  rapidity 
and  nonsynchronization  of  the  projector 
with  that  of  the  camera  the  effect  en- 
hanced rather  than  detracted  from  the 
illusion. 


December,  1938    •    American  Cinematographer  521 


Mitchell  Nears  Majority 

(Continued  from  Page  496) 
work  and  in  1934  introduced  the  Studio 
Model,  which  is  the  ultimate  in  silence 
and  efficiency. 

The  camera  is  built  around  the  Sound 
Model,  but  has  its  own  housing  which 
completely  does  away  with  mechanical 
noise.  It  can  be  used  for  all  types  of 
sound  picture  work  without  additional 
covering. 

The  Studio  Model  has  retained  the 
best  of  the  well  known  Mitchell  fea- 
tures and  in  addition  has  incorporated 
several  noteworthy  improvements. 

The  four-lens  turret  has  been  sup- 
planted by  a  single  lens  mount  of  the 
bayonet  type  to  which  lenses  of  different 
focal  length  may  be  instantly  fitted. 
Each  lens  may  be  focused  from  either 
side  or  the  rear  of  the  camera. 

Focusing,  like  the  other  models,  is 
done  upon  a  ground  glass  through  a  va- 
riable telescope  which  gives  an  erected 
image  of  either  5  or  10  times  magnifica- 
tion. 

The  large  erect-image  view  finder, 
equipment  of  Mitchell  cameras  for  years, 
has  been  retained  on  the  Studio  Model. 


Twenty  thousand  doUurfs'  worth  of  spe- 
cial hi(/h-speed  Mitchells  purchased  for 
United  States  Government  and  now  in 
rise  around  the  world. 


Mitchell  Camera's  Sound  Model  showing 
it  (left)  from  operator's  position  and 
(right)  the  film  movement. 


By  means  of  a  gear  system,  as  the  lens 
is  focused,  the  parallax  and  focus  of  the 
view  finder  automatically  come  into 
proper  adjustment  also. 

Noise  elimination  is  accomplished  by 


means  of  an  outer  shell  from  which  the 
camera  itself  is  completely  sound-insu- 
lated. As  an  ensemble  the  Studio  Mit- 
chell is  the  latest  example  of  streamlined 
efficiency  available  to  the  trade. 

Following  by  natural  sequence  of  de- 
mand the  Mitchell  Camera  Corporation 
introduced  in  1936  its  variable  area 
sound  recording  system. 

While  designed  primarily  as  a  portable 


522      Amkkican  Cinkmat()(;rai'Her    •    December,  1938 


35mm.  sound-on-film  double  system  re- 
corder, the  fidelity  of  recording  is  such 
that  it  meets  all  demands  of  studio  serv- 
ice. The  sound  recording,  or  conversion 
of  electrical  impulses  into  light  impulses, 
is  done  by  a  rugged  galvanometer  giving 
ample  exposure  on  sound  recording  posi- 
tive with  a  lamp  current  of  1  ampere  at 
6  volts. 

Built  with  the  same  precision  as  the 
famous  line  of  cameras,  the  Mitchell 
sound  recording  system  incorporates  de- 
vices which  have  proved  to  give  reliable 
and  trouble-free  operation  over  a  long 
period  of  time. 

Latest  addition  to  the  corporations' 
cinema  instruments  is  the  background 
projector.    Introduced   in   1937,   it  em- 


CINE-KODAK  Super-XX  film,  four 
times  as  fast  as  regular  Cine- 
Kodak  panchromatic  film,  is  now 
available  for  16mm.  motion  picture  cam- 
eras, the  Eastman  Kodak  Company  an- 
nounces fi'om  Rochester. 

Ideally  suited  for  moviemaking  under 
the  adverse  light  conditions  often  en- 
countered in  fall  and  winter,  Super-XX 
film  will  be  welcomed  by  all  users  of 
16mm.  film  for  whom  the  day  always  is 
too  short  as  well  as  those  who  have 
wished  for  faster  16mm.  film  for  ad- 
verse lighting  conditions  indoors  as  well 
as  out. 

In  the  past  an  f.1.9  lens  and  the  fast- 
est film  available  were  required  for  de- 
pendable football  moviemaking  —  and 
even  then  pictures  could  not  be  taken  at 
dusk  or  in  the  rain. 

Under  adverse  conditions,  telephoto 
lenses,  which  are  necessarily  slower  in 
speed,  were  of  little  use.  But  with  the 
new  high-speed  Super-XX  film  many  of 
these  limitations  are  removed,  and  pic- 
tures never  before  possible  are  now  well 
within  the  range  of  the  photographer's 
equipment. 

With  the  new  film  an  f.2.7  telephoto 
lens  (such  as  the  2 ¥2  and  4  inch  long 
focus  Cine-Kodak  lenses)  is  faster  than 
an  f.1.9  lens  used  with  regular  Cine- 
Kodak  panchromatic  film.  On  the  same 
basis  of  comparison  a  regular  f.1.9  Cine- 
Kodak  lens  is  equivalent  to  a  lens  work- 
ing at  the  enormous  aperture  of  f.0.95, 
faster  than  f.l. 

With  all  its  extreme  speed,  Super-XX 
can  be  used  for  moviemaking  under  nor- 
mal bright  sunlight  conditions — if  a 
neutral  density  filter  (No.  2)  is  placed 
on  the  camera  lens  to  prevent  overex- 
posure. This  filter  is  simply  removed 
when  light  conditions  become  adverse, 
and  the  full  speed  of  the  film  is  then  ef- 
fective. 

The  phenomenal  speed  of  Super-XX 
film  has  been  obtained  without  loss  of 
ciuality  or  increase  in  grain  size.  The 
film  is  fully  panchromatic,  and  produces 
pleasingly  balanced  renditions  in  black- 


bodies  methods  of  construction  found  ex- 
clusively in  the  Mitchell  line. 

The  film  movement  is  similar  to  that 
used  in  the  Studio  camera,  and  so  as- 
sures a  perfectly  steady  projected  pic- 
ture with  accompanying  quietness  of 
operation. 

Today  with  more  than  500  cameras 
actually  in  daily  use  all  over  the  world, 
the  Mitchell  Corporation  approaches 
with  confidence  its  twentieth  birthday. 
The  personnel  is  gratified  because  of  the 
continuous  and  sincere  response  that  has 
been  evinced  over  a  period  of  years  in 
support  of  its  high  standards  of  me- 
chanical workmanship,  courteous  service 
and  willingness  to  advance  with  the 
needs  of  the  motion  picture  industry. 


and-white  from  brightly  colored  sub- 
jects. 

It  is  processed  at  Rochester  or  East- 
man branches  which  process  other  Cine- 
Kodak  films,  and  the  finished  positive 
shows  the  fineness  of  grain  which  is 
characteristic  of  all  Eastman  reversal 
processing.  As  with  other  Cine-Kodak 
films  Supei'-XX  film,  16mm.  is  processed 
without  charge. 

Indoor  Exposure  Table 

For  Cine-Kodak  Super-XX  film  and 
bare  Mazda  lamps  in  rooms  with  me- 
dium-light colored  walls  and  furnishings. 
Exposures  are  for  Cine-Kodaks  operated 
at  normal  speed.  Halve  the  illumination 
for  half-speed  pictures. 


Distance 

Total 

from  Lamps 

Diaphragm 

Wattage 

to  Subject 

Opening 

of  Lamps 

Feet 

f.1.9 

100 

2 1/2 

200 

3^ 

300 

4^ 

400 

5% 

f.2.8 

200 

300 

3 

400 

500 

4 

f.3.5 

300 

2y2 

400 

500 

600 

3% 

f.4.0 

400 

2  ¥2 

500 

2H 

600 

3 

800 

31/2 

When  using  bare  No.  1  photoflood 
lamps  and  an  f.1.9  lens  opening,  place 
one  lamp  6V2  feet  from  the  subject,  or 
two  at  9 feet,  three  at  IIV2  feet,  four 
at  13  feet. 

An  f.2.8  lens  opening  requires  one 
No.  1  photoflood  at  4^/2  feet,  or  two  at 
6i'2  feet,  three  at  7V2  feet,  four  at  9 
feet. 

With  No.  2  photofloods  use  half  as 
many  lamps,  or  the  next  smaller  dia- 
phragm opening. 


Spencer  Lens  Develops 
Color  Projector 

ANEW  projector  for  2  by  2  inch 
and  3%  by  4  inch  color  slides  has 
been  announced  by  Spencer  Lens 
Company  of  Buff'alo.  It  is  said  to  project 
a  2  by  2  inch  slide  with  greater  brilli- 
ance than  does  the  usual  1000-watt  audi- 
torium lantern  slide  projector  with  a 
3V4,  by  4  inch  slide. 

So  much  illumination  is  available  that 
an  iris  diaphragm  is  sometimes  needed 
to  control  the  light  on  the  screen  when 
using  thin  slides  or  projecting  to  small 
gatherings.  For  dense  slides  or  large 
magnifications  the  full  intensity  of  the 
illumination  can  be  utilized. 

The  facilities  of  this  convertible  in- 
strument will  be  available  for  both  ama- 
teur and  professional. 

It  will  be  offered  three  ways:  For  2 
by  2  inch  slides  only,  for  3%  by  4  inch 
slides  only,  and  for  2  by  2  inch  and  S^A 
by  4  inch  slides. 

The  only  difference  is  in  the  optical 
units,  which  can  be  exchanged  in  a  few 
seconds. 

The  new  projector  is  equipped  with  a 
750-watt  lamp,  cooling  fan,  three  element 
condensing  system  with  heat  filter  and 
projection  lens.  Lenses  range  from  6V2 
inch  (f2.75)  to  10  inch  (f4.23). 

It  weighs  21  pounds  and  measures  21 
inches  in  length,  7V2  inches  in  width  and 
8%  inches  in  height. 

The  Spencer  organization  developed 
the  color  projector  after  extended  experi- 
mental research. 

▼ 

Victor  Marketing  New  Type 

of  Continuous  Projector 

A  new  16mm.  portable  continuous 
projector,  which  is  being  placed  on  the 
market  in  both  silent  and  sound  models 
by  Victor  Aniniatograph  Corporation, 
Davenport,  Iowa,  embodies  a  patented 
"advance-feed"  principle  which  insures 
trouble-free  performance  and  protection 
against  film  destruction. 

The  great  "bugaboo"  of  continuous 
projection  always  has  been  the  eventual 
tightening  up  of  and  the  loss  of  freedom 
in  the  film  windings  in  the  film  maga- 
zine or  around  the  film  driving  rollers. 

The  backbone  of  this  principle  is  the 
positive  regulation  of  the  amount  of 
film  fed  to  the  intermittent  film-moving 
member  of  the  projector. 

In  the  Victor  continuous,  the  film  is 
wound  loosely  around  two  large  wheels 
which  are  driven  synchronously  by  an 
endless  belt,  which  also  acts  as  a  con- 
veyor for  the  film.  The  film  literally 
hangs  from  the  upper  wheel,  which  actu- 
ally carries  the  film  instead  of  drawing 
it  along. 

The  film  capacity  of  standard  models 
of  the  unit  will  be  500  feet.  Special 
models  with  greater  capacity  can  be 
supplied  on  order. 


EASTMAN'S  16MM.  SUPER^ 
XX  NOW  READY 


December,  1938    •    American  Cinematographer  523 


I 


Shirley's  First 
Color 

(Continued  from  Page  i93) 

field  when  arcs  were  developed  which 
gave  the  light  necessary  for  filming 
color,  and  yet  operated  with  the  quiet 
demanded  by  sound  recording. 

When  it  was  decided  to  film  Shirley 
Temple's  "The  Little  Princess"  in  color 
an  immediate  problem  presented  itself, 
in  that  arc  broads  had  to  be  found  which 
would  operate  with  sufficient  quiet  to 
permit  the  child  star  to  speak  in  her 
natural  tone  of  voice  and  not  have  it 
smothered  even  slightly  by  the  sound 
of  arcs. 

Walter  Strohm,  chief  engineer  at  the 
Twentieth  Century-Fox  studio,  settled 
the  problem  with  a  battery  of  Bardwell 
and  McAlister,  Inc.  Twin  Arc  Broads, 
which  are  acoustically  treated  to  absorb 
any  noise  which  might  come  from  car- 
bons. 

Studio  Buys  Fifty  Lamps 

Each  is  equipped  with  a  motor  that 
has  a  special  acoustical  mounting  de- 
signed to  filter  its  characteristic  fre- 
(luency.  Sound  tests  showed  the  lamps 
to  be  40  db  below  average  adult  voice 
level,  which  made  them  perfect  for  the 
recording  of  Shirley's  voice.  A  battery 
of  fifty  of  the  Bardwell  &  McAlister 
Twin  Arc  Broads  were  purchased  by 
Twentieth  Century-Fox  studio,  for  use 


on  such  great  Technicolor  pictures  as 
"The  Little  Princess,"  "Jesse  James" 
and  "Kentucky." 

These  arcs,  incidentally,  are  a  boon 
to  cameramen  and  to  the  studio  budget 
balancers  who  find  their  frugal  operation 
a  big  lift  to  the  company's  pocketbook. 

It  is  interesting  to  look  into  the  con- 
struction of  the  Bardwell  &  McAlister 
Twin  Arc  Broad.  It  combines  two  prin- 
ciples of  operation  which  have  been  con- 
sidered good  studio  practice  for  years. 

The  mechanism  consists  primarily  of 
an  upper  and  lower  carbon  carrier 
mounted  on  slide  rods  and  fed  together 
by  a  screw  which  is  driven  by  a  motor. 
Mounted  on  the  upper  carbon  carrier  and 
moving  with  it  on  the  feed  screw"  is  a 
striking  solenoid  employing  a  pair  of 
clutches  to  bring  the  carbons  to  a  pre- 
determined gap  for  burning.  During  a 
burn,  the  clutches  and  solenoids  remain 
tight,  the  carbons  being  fed  together  by 
means  of  the  motor.  The  only  function 
of  the  clutches  and  solenoid  is  to  strike 
the  arc.  The  light  is  very  steady  and 
of  consistent  color  value,  because  the 
carbons  are  constantly  fed  together  at 
their  rate  of  burn  and  there  are  no  tran- 
sient variations  in  the  gap,  which  are 
known  to  be  one  of  the  causes  of  arc 
flicker  and  color  change.  This  accounts 
for  one  of  the  main  reasons  why  the 
Bardwell  &  McAlister  arc  is  so  valuable 
in  the  photographing  of  Technicolor 
pictures. 

In  striking,  the  carbons  are  releasably 


Left,  front  view  of  new  BM  Twin  Arc 
Broad  showing  Htandard  diffuser  and 
carbon  feed  indicators.  Right,  rear  view 
of  the  new  BM  Twin  Arc  Broad  with 
simple  motor  control — acoustically 
treated. 

gripped  by  the  clutches.  Restriking  the 
arc  will  allow  the  carbons  to  hit  and 
pull  apart  again  at  the  original  pre- 
determined arc  gap. 

Keep  Color  Constant 

Advantage  has  been  taken  of  this 
striking  feature  to  produce  a  lamp  on 
which  the  photographer  could  confi- 
dently rely  to  keep  its  color  constant 
during  the  take.  This  feature  makes  the 
lamp  of  great  value  for  close-ups  and 
key  light  on  a  color  set. 

The  predetermined  gap  and  the  amper- 
age in  the  arc  circuit  have  been  set  to 
Technicolor  specifications  for  photo- 
graphic value. 

Referring  to  the  lamp  construction, 
the  reflector  is  of  special  optical  design 
to  give  greatest  efficiency  from  a  twin 
source,  the  light  to  be  incident  on  the 
diffuser.  The  glass  diffuser  is  the  stand- 
ard size.  It  is  made  of  2-inch  strips  of 
factorlite  glass,  which  design  brings 
heat  breakage  to  a  minimum. 

In  operation  the  lamp  should  be 
burned  with  the  top  carbons  positive  for 
best  efficiency.  A  peephole  in  the  side 
of  the  housing  is  provided  to  determine 
this  condition  from  the  arc  itself.  This 
is  considered  more  reliable  than  any  me- 
chanical polarity  device  which  may  get 
out  of  order. 

When  burned  with  polarity  correct,  a 
trim  lasts  1  hour  45  minutes.  At  the 
end  of  this  burn,  new  upper  or  positive 
carbons  are  placed  in  the  lamp,  and  the 
old  lowers  or  negatives  are  boosted  for 
a  second  burn. 

Operation  Economy 
Thus  two  burns,  or  3  hours  30  minutes, 
are  obtained  from  six  carbons.  This  gives 
2  hours  20  minutes  average  for  one  trim 
(four  carbons).  The  greater  efficiency 
materially  means  the  saving  of  hundreds 
of  dollars  in  carbons. 

Two  pointers  with  time  scale  on  the 
side  of  the  lamp,  one  for  each  carbon 
holder,  show  the  operator  at  all  times 
just  how  much  bum  he  has  left  in  the 
lamp.  When  either  carbon  holder  has 
reached  the  end  of  its  travel,  a  switch 
automatically  cuts  off  the  motor,  thus 
not  endangering  the  lamp  from  over- 
burning. 

Both  Mr.  Bardwell  and  Mr.  INIcAlister 
have  spent  the  last  twenty-five  years  in 
the  motion  picture  industry. 

Their  firm,  Bardwell  &  McAlister  Inc., 
has  made  great  strides  in  the  develop- 
ment of  motion  picture  lighting  equip- 
ment in  recent  years.  In  addition  to 
this  revolutionary  new  Twin-Arc  Broad 
they  have  produced  a  complete  line  of 
incandescent  equipment,  the  most  recent 
of  which  is  the  new  500  watt  Baby  Keg- 
Lite,  which  already  is  being  used  exten- 
sively throughout  the  industry.  The 
plant  is  at  7636  Santa  Monica  boulevard, 
is  equipped  to  meet  any  studio  require- 
ment for  lighting  equipment. 


524     American  Cinematographer    •    December,  1938 


THREE  NEW  EASTMAN 

NEGATIVE  emulsion; 

(Continued  fro-yn  Page  i90) 


ative  opens  up  another  possibility  for 
use  which  may  prove  very  important. 

There  has  never  been  a  film  introduced 
to  the  motion  picture  trade  with  the  rec- 
ommendation that  this  film  be  used  ex- 
clusively for  exterior  photography,  but 
since  the  speed  of  this  Background  X 
is  approximately  75  per  cent  that  of 
Super  X,  this  emulsion  naturally  falls 
into  that  category. 

Added  to  this  is  the  contrast  char- 
acteristic which  is  but  slightly  higher 
than  Super  X  and  the  grain  structure 
which  is  nearly  identical  to  Background 
Negative.  These  three  factors,  there- 
fore, make  it  possible  to  recommend  the 
use  of  Background  X  for  normal  ex- 
terior motion  picture  production. 

Another  field  in  which  the  Plus  X 
emulsion  can  be  used  to  great  advantage 
is  in  the  making  of  the  composite  projec- 
tion background  scenes.  With  the  speed 
of  this  new  Plus  X  film  it  will  be  pos- 
sible to  stop  down  the  lens  and  thus 
carry  greater  depth  of  focus  and  gen- 
erally enhance  the  photographic  quality. 
This  film  will  prove  of  decided  advantage 
over  Super  X  for  this  work. 

2.  Eastman  Plus  X 

This  emulsion  is  in  a  sense  to  be  con- 
sidered as  a  replacement  for  the  Super 
X  Negative.  Up  to  this  time  there  has 
been  no  condemnation  of  the  Super  X, 
and  the  presentation  of  the  Plus  X  type 
was  not  made  because  of  weaknesses  in 
the  Super  X  type. 

However,  there  have  been  requests  for 
films  of  higher  speed  than  Super  X,  and 
this  emulsion,  therefore,  fits  into  that 
category. 

In  the  light  of  past  emulsion  knowl- 
edge it  was  not  possible  to  make  an 
emulsion  faster  than  Super  X  without 
increasing  the  graininess  characteristics, 
but  with  the  advance  in  emulsion  knowl- 
edge it  has  become  possible  to  make  a 
faster  emulsion  with  even  less  grain. 

This  is  exactly  the  case  with  the  Plus 
X  emulsion.  Previous  paragraphs  of 
this  paper  definitely  prove  that  this  Plus 
X  emulsion  with  its  double  speed  over 
Super  X  is  of  finer  grain  characteristics 
than  the  Super  X. 

These  two  factors,  therefore,  make  it 
imperative  that  this  Plus  X  emulsion 
type  be  used  in  place  of  Super  X.  It 
should  be  stated,  too,  that  the  finer  grain 
structure  definitely  lends  to  a  finer 
photographic  quality. 

This  emulsion.  Plus  X,  should  be  used 
for  interior  photography,  there  being  no 
necessity  except  under  adverse  lighting 
conditions  to  use  a  film  of  this  speed 
for  general  exterior  photography,  for  to 
accomplish  it  it  would  be  necessary  to 
alter  lens  stops,  employ  diffusion  discs, 
filters,  etc.,  for  decreasing  the  effective 


exposure.  There  is  no  need  for  this 
with  the  films  now  available. 

.3.  Super  XX 

As  indicated  in  previous  paragraphs 
this  emulsion  is  one  of  exceptionally 
high  speed  and  excellent  photographic 
quality.  The  prime  purpose  behind  the 
manufacture  of  this  emulsion  was  the 
desire  to  give  the  cinematographer  every 
possible  advantage  that  film  speed  could 
give. 

Newsreel  men  particularly  are  often 
confronted  with  the  necessity  of  photo- 
graphing historical  events  under  ex- 
tremely poor  lighting  conditions.  Camera 
lenses,  and  camera  speeds,  cannot  be 
materially  altered  at  this  time. 

Therefore,  the  only  possible  chance  of 
obtaining  good  photographs  of  certain 
events  is  dependent  upon  the  negative 
emulsion's  ability  to  pick  up  light  in- 
tensity of  low  value.  It  is  felt  this  Super 
XX  film  will  accomplish  this. 

There  are  also  many  conditions  arising 
in  the  cinematographic  art  where  high 
emulsion  speed  is  needed.  Often  such 
conditions  arise  in  actual  studio  prac- 
tice. Since  the  graininess  characteristic 
of  the  Super  XX  emulsion  is  not  appre- 
ciably greater  than  the  Super  X  emul- 
sion now  in  current  use,  there  is  no 
reason  at  all  why  cameramen  should 
hesitate  to  make  use  of  this  film  when 
the  need  arises. 

It  is  unnecessary  to  add  that  this  film 
should  prove  very  useful  for  the  photo- 
graphic recording  of  boxing  or  wrestling 
matches,  or  any  other  kind  of  sport  or 
assemblage  where  the  only  light  avail- 
able is  the  general  floodlighting  condi- 
tion of  the  auditorium  type. 

CONCLUSIONS 

It  is  hoped  that  the  facts  and  discus- 
sion contained  herein  relative  to  the 
three  new  Eastman  negative  films  will 
enable  any  interested  cinematographer 
to  make  successful  use  of  them. 


Filming  Small  Game 

(Continued  from  Page  513) 
reflector  mounted  on  a  tripod.  After 
the  camera  was  set  up  at  a  new  loca- 
tion and  adjusted  on  its  tripod,  the 
flare  was  touched  off  in  its  holder,  while 
the  camera  recorded  the  action  of  dogs, 
hunters  and  coons. 

Keep  Camera  Busy 

If  you're  one  of  those  unfortunates 
who  must  spend  his  winters  in  the 
frigid,  snow-dunked  northlands,  there  is 
no  reason  why  movie  cameras  should  lie 
idle  during  the  white  months.  In  fact, 
some  excellent  game  studies  can  be  made 
after  the  flurries  once  start. 

For  instance,  have  you  ever  tried  to 
catch  the  exodus  of  the  local  birds,  the 


giant  flocks  of  redwings  and  the  swal- 
low migrations? 

Have  you  ever  been  on  hand  when 
wildfowl  finally  broke  away  from  the 
ice-crusted  lakes  and  started  its  south- 
ward flight?  There  is  an  unforgettable 
thrill  for  those  who  can  film  a  sky  dark- 
ened by  swishing  wings  or  patterned 
with  swift-moving  "vees." 

When  camera  hunting  for  ducks  or 
geese,  borrow  somebody's  blind,  set  up 
tripod  and  camera,  snap  on  the  tele- 
photo,  and  you're  ready  for  action. 

Use  the  same  precautions  in  filming 
as  you  would  if  your  side-arm  were  a 
scattergun  instead  of  a  movie  camera. 
Camouflage  your  presence  with  duck 
hunting  garb.  Keep  low  and  avoid  un- 
necessary movements  when  birds  are  in 
flight. 

While  the  one-inch  lens  will  be  good 
for  flock  pictures,  the  three,  four  or 
even  six-inch  telephoto  will  bring  the 
singletons   up   close   to   fill   the  entire 
finder.     Since  duck  speed  varies  from 
one  to  three  miles  a  minute,  slow  motion 
movies  are  in  order  to  reduce  the  speed 
and  permit  a  study  of  wing  movements. 
One  Minneapolis  moviemaker,  A. 
J.  Leigh,  has  even  mounted  his  cam- 
era on  a  revamped  rifle  stock  in 
order  to  shoot  his  movies  in  the 
same  manner  he  fires  a  gun. 
Snowtime  brings  out  the  snow  birds, 
the  suet-gorging  chickadees,  and  a  host 
of  other  feathered  fellows  whose  tracks 
and  habits  offer  interesting  cine  studies. 
If  there  is  a  feeding  shelter  nearby, 
build  a  blind  conveniently  close  at  hand, 
set  up  your  folding  camp  chair  and  do 
your  filming  at  ease. 

If  the  weather  becomes  too  severe, 
erect  a  tin-covered  framework  camou- 
flaged with  browse,  install  a  portable 
heater,  cut  ventilating  holes  and  an 
opening  for  the  lens,  and  shoot  with 
comfort  and  class. 

Pheasants  were  made  to  order  for 
Kodachroming.  These  year  'round  guests 
may  go  hiding  when  the  hunting  season 
is  on,  but  when  snow  blankets  the  hills 
they're  usually  out  looking  for  food. 

Rabbit  Hunting  Thrills 

Perhaps  one  of  the  easiest  ways  to 
film  these  wary  wenches  is  to  trek  out 
with  the  local  sportsman's  group  when  it 
makes  its  circuit  of  the  pheasant  feeding 
stations. 

For  super-action,  those  free-wheeling 
rabbits  offer  the  utmost  in  cine  thrills. 
On  a  bunny  hunt,  nobody  knows  when  a 
youngster  will  trip  you  up,  zig-zag  mad- 
ly over  the  drifts,  and  plop  into  a  hid- 
den runway. 

So  if  your  meat  is  john-rabbits  you'll 
need  something  more  than  steady  nerves 
and  a  knowledge  of  rabbit  lore.  As  a 
matter  of  fact,  a  topnotch  bunny  film 
is  even  more  difficult  to  shoot  than  a 
moose,  elk  or  deer  study  in  distant  wilds. 
Yet  who  bothers  with  rabbit  filming? 
They're  such  commonplace  critters! 

Small  game  filming  is  indeed  an  escape 
for  the  stay-at-home,  who,  with  limited 
resources,  often  turn  out  reels  as  dar- 
ing as  those  made  by  sportsmen  who 
trail  African  lions  and  Arctic  bruins. 


December,  1938    •    American  Cinematographer  525 


Notes  Of  The  Movie  Clubs 


Philadelphia  Cinema  Club 

The  November  meeting  of  the  Phila- 
delphia Cinema  Club,  set  back  one  week, 
so  as  not  to  interfere  with  Election  Day, 
took  in  the  vacation  film  contest. 

The  limitation  was  100  feet  of  16mm. 
and  its  equivalent  in  8mm.  A  first  and 
second  prize  was  offered  in  each  group. 
The  prize  winners  were: 

First  prize,  8mm.,  Frank  Hirst's  film 
"Peggy's  Cove";  second  prize,  8mm., 
Ernest  VandenBorch's  "Autumn  in  the 
Poconos";  first  prize,  16mm.,  Neill  Mac- 
Morris's  "Autumn";  second  prize,  16mm., 
Arthur  J.  Hurth's  "Dogwood  Blossoms 
in  Valley  Forge  Park." 

The  group  was  also  fortunate  in  hav- 
ing present  A.  B.  Japikse,  president  of 
the  League  of  Cinema  Amateurs  of  the 
Netherlands.  Mr.  Japikse  brought  with 
him  several  thousand  feet,  in  both  color 
and  monochrome,  representing  the  work 
done  in  the  Netherlands. 

The  film  was  much  enjoyed. 

The  club  has  its  full  constitutional 
membership  of  75  voting  members,  and 
in  addition  has  arranged  for  associate 
membership  for  those  wives  of  members 
who  desire  to  participate  in  the  affairs 
of  the  organization. 

B.  N.  LEVENE, 

Chairman  of  Publications  Committee. 
T 

San  Francisco  Cinema  Club 

At  the  meeting  of  the  San  Francisco 
Cinema  Club  November  15,  Clifford  Nel- 
son of  the  Recreation  Department  talked 
on  color  photography. 

Not  only  is  he  an  authority  on  color, 
but  has  written  a  book  on  this  subject. 
His  talk  was  supplemented  by  several 
reels  of  colored  pictures. 

Member  F.  C.  Youngberg  also  screened 
his  vacation  trip  into  the  high  Sierras. 
E.  G.  PETHERICK,  President. 


La  Casa  of  Alhambra 

At  the  October  meeting  of  the  La 
Casa  Movie  Club  of  Alhambra  the  fol- 
lowing officers  were  elected  for  the  en- 
suing year;  H.  P.  Carnahan,  president; 
John  Wilson,  vice  president;  and  Stanley 
Ash,  secretary. 

The  feature  of  the  evening  was  a  show- 
ing of  western  football  games  in  slow 
motion,  and  a  surgical  movie  by  G.  K. 
Sherlock. 

Mr.  Johnson,  Mrs.  Neiger  and  T.  R. 
Smith,  members,  also  showed  films. 
On  the  following  Monday  evening  the 


8 Enlarged 
TO 


16 


Reduced 
TO 


8 


Geo.  W.  Colburn  Laboratory 

Special  Motion  Picture  Printing 
1197  MERCHANDISE  MART 
CHICACIO 


entire  club  of  one  hundred  sixty-five 
members  and  guests  attended  the  Cam- 
era Club,  which  is  a  weekly  event  on 
the  C.B.S.  over  a  Pacific  Coast  hook-up. 
The  event  was  very  interesting  and 
instructive.         R.  A.  BATTLES, 

Publicity  Secretary. 
▼ 

Peninsula  Cine  Club 

A  group  on  the  Monterey  Peninsula 
has  organized  a  club  of  amateur  camera- 
men and  held  its  fir.st  meeting  Nov.  16 
in  quarters  donated  to  permanent  use  by 
the  Grove  Pharmacy,  481  Lighthouse 
avenue,  Pacific  Grove. 

Knute  G.  Mathison,  1040  Shell  ave- 
nue. Pacific  Grove,  was  elected  president, 
and  the  undersigned  secretary-treasurer. 
President  Mathison  appointed  a  commit- 
tee consisting  of  Ronald  Hodges,  Harold 
H.  Daugherty  and  the  secretary  to  draw 
up  constitution  and  by-laws,  to  be 
adopted  at  the  next  meeting,  December 
14. 

Plans  were  made  to  canvass  a  list  of 
some  twenty  prospective  new  members, 
and  to  issue  monthly  a  mimeographed 
bulletin,  detailing  club  activities  and 
other  news  of  interest  to  the  members. 

After  the  business  meeting  Mr.  Rhodes 


STILL  TIME  TO  ORDER 
NATURAL  COLOR 
Enlargement  Prints 

from  Kodachroine  and  Dufay 
FOR  CHRISTMAS 

3  x7  Prints  $10.00         8  x  10  Prints  $15. 00 
11  X  14  Prints  $20.00 

*'Theu  cost  more  and  are  worth  tnore" 

SATISFACTIOIN  AND  PROMPT 
DELIVERY  GUARAISTEED 

//  ijour  photographic  dealer  cannot  give  you 
our  service  send  us  your  transparencies 

HESSERCOLOR  CORP. 

6603  Hollywood  Blvd.,  Dept.  ACI2,  Hollywood,  Calif. 

Dealers  irrite  for  teruis. 


'FILMO&EYEMO' 

FILTER  HOLDERS 

ALL  MODEL  EYEMOS  and  FILMO  model 
D  series  adapted  to  accommodate  gelatin 
filters  in  individual  metal  holders.  Position 
between  rear  of  lens  and  film.  One  filter 
serves  all  lenses.  Write  for  literature. 

Patents  Pending 

National  Cine  Laboratories 

20-22  West  22nd  St.  New  York  City 

Foremost  Motion   Picture  Mechanical 
I  Laboratories  in  the  East.  I 


Quality   8mm    M  g 

r 

]  DUPLICATES  ^ 

\1 

'    Ac   per  finished  foot  with  ad 

KSO-S   PK  TMRES 

3945  Central  Street 

KANSAS  CITY,  MISSOURI 

.screened  his  16mm.  black-and-white 
"Alone  At  Last!"  and  "A  Little  Jour- 
ney." R.  .7.  Fergu.son  projected  about 
100  feet  of  unedited  8mm.  Kodachrome 
recently  taken  in  and  around  the  beau- 
tiful Lake  Tahoe  country. 

GILBP:RT  L  RHODES. 
▼ 

Brooklyn  Cine  Club 

The  Brooklyn  amateur  cine  club  has 
been  organized  in  Brooklyn,  New  York, 
with  the  following  officers  elected  to 
serve  for  the  first  year:  Irving  Pollack, 
president;  Charles  Benjamin,  vice  presi- 
dent; Ruth  Schachner,  secretary,  and 
Sam  Mason,  treasurer.  Club  headquar- 
ters are  at  the  Hotel  Bossert,  Btooklyn, 
where  meetings  are  held  fortnightly 
on  Wednesdays. 

The  tentative  program  for  the  coming 
season  includes  lectures,  demonstrations, 
discussions  and  showing  of  films  on  all 
l)hases  of  moviemaking.  Two  beginners' 
groups  have  already  been  formed  for 
the  purpose  of  receiving  field  instruction 
in  the  use  of  their  equipment. 

Brooklyn  8  and  16mm.  amateurs  inter- 
ested in  joining  before  the  membership 
rolls  close  are  urged  to  communicate 
with  Irving  Pollack,  913  St.  Marks  ave- 
nue, Brooklyn. 

IRVING  POLLACK,  Secretary. 
▼ 

Los  Angeles  8mm.  Club 

The  November  meeting  was  held  at 
the  Bell  &  Howell  auditorium  on  the 
8th.  The  following  officers  were  elected 
for  1939: 

President,  Al  Leitch;  vice  president, 
Vincent  Hague;  secretary,  Leon  C. 
Sprague;  treasurer,  Ed  Pyle. 

We  were  then  privileged  to  see  a 
beautiful  16mm.  picture  in  kodachrome 
of  Yellowstone  and  its  environs  taken 
and  shown  by  Dr.  Elton  Walker  of  the 
L.  A.  Cinema  Club.  Dr.  Walker  answered 
all  questions  and  his  picture  was  a  gen- 
uine treat. 

It  was  announced  the  annual  contest 
and  banquet  will  be  held  at  the  Victor 
Hugo  Cafe  in  Beverly  Hills  on  Saturday, 
December  10;  that  all  films  must  be  in 
by  midnight,  November  30,  and  that 
tickets  may  be  secured  at  Eastman 
Kodak  Store,  643  South  Hill  Street  or 
any  officer. 

BION  B.  VOGEL,  Secretary. 
T 

New  Photographers'  Adhesive 

A  new  adhesive  which  combines  the 
everlasting  qualities  of  good  rubber 
cement  with  the  ease  and  smoothness  of 
application  of  m.ucilage  has  just  been 
introduced  to  the  photographic  field  by 
Wholesale  Radio  Service  Company,  Inc., 
100  Sixth  avenue.  New  York,  under  the 
name  Lafayette  "F'oto-Stik." 


KODACHROME 

DUPLICATES  Is':: 

STITH-NOBLE  CORP. 

YO  0331 

645  North  Martel  Ave.,  Hollywood,  Calif. 


.^)26      Amekican  Cinematographer    •    December,  1938 


INDEX  VOLUME  XIX  193 


PROFESSIONAL 


Ajjfa  introduces  two  new  super-fast  motion  picture 

neirative  films:  10. 
Art  Reeves  shows  new  Ultra-Violet  Recorder:  16. 
Animation  :  48. 
Aerial:  57,  98,  276,  370. 

Art  Reeves  resumes  activity  in  Camera  Supply: 
149. 

Ak'fa  extends  availability  of  fast  emulsions:  150. 

Arnold  devises  semi-automatic  follow-focus  finder 
for  cameras  :  188. 

Ace  newsreeler  gives  light  on  how  he  films  news 
of  the  world :  275. 

A.S.C.  men  as  Blackburn  guests  enjoy  "Highlights 
and  Shadows":  281. 

.'\brams  builds  plane  and  camera  for  aerial  photo- 
graphic mapping:  370. 

.'Mton's  photography  praised  in  Buenos  Aires:  500. 

Ampro  sales  agents  for  Syncro-Sound  16mm.  pro  : 
503. 

American  cameramen  lead:  412. 

American  Annual  1939  is  book  worth  having:  415. 
ASC's  October  party  proves  a  rare  occasion  :  502. 
C 

Charlie  McCarthy  scheduled  for  assistant  camera- 
man job:  7. 

Camera  work  fails  true  mission  when  it  sinks 
realism  for  beauty  :  56. 

Camera  script  clerk  experiment  at  M.G.M.  a 
success :  102. 

Color:  224,  229,  240,  276,  406,  450. 

Coaxial  cable  demonstration  by  engineers  proves 
great  success :  280. 

Camera  tells  story  of  precision  engineering  in 
Art  Reeves  plant :  322. 

Cinematographers'  "Ladies'  Night"  most  success- 
ful from  all  angles  :  369. 

Captain  Mulkey,  U.S.A..  comes  to  studios:  410. 

Camera  hazards  abound  :  451.  « 

D 

Dr.  Carter  outlines  history  of  search  for  per- 
manent photograph  on  metal:  270,  316. 

Declares  General  Electric  solves  needs  of  pro- 
fessional in  light  meters :  272. 

Dr.  Carter  answers  vital  queries  regarding  metal 
film  development:  356. 

Dunning  has  three-color  process  ready  to  go:  406. 

Dallmeyer  makes  i-ecord  Dallon  telephoto  lens  of 
g%  inches  diameter:  450. 

E 

Each  step  counts  in  reproduction  of  screen  music, 

says  Aalberg:  9. 
Eastman  negative  emulsions:  Background  X,  Plus 

X  and  Super  XX:  487. 
Engineer  discusses  reuirements  of  true  stereoicopy 

in   motion  pictures:  14. 
Bfects:  52. 
Equipment:  63,  188. 

Erpi   introduces   sound   recorder    for  professional 

16mm  film  men:  364. 
Eastman   adds   7',L>   acres   floor  space   to  camera 

works  :  455. 

Engineers  to  discuss  thirty  papers  at  meeting:  45S. 
F 

Films:  10,  356. 

Fred  Gage  creates  great  laboratory  at  Warner;' : 
96. 

Farnham  and  associates  honored  by  General  Elec- 
tric subsidiary:  147. 

Frank  Capra  and  Norman  Alley  guests  at  A.S.C. 
Gettogether:  148. 

Finely  equipped  English  studios  are  all  set  for 
industrial  jump:  319. 

Father  Hubbard  in  Alaska  makes  record  filming: 
399. 

F'ilming  jungle  Djukas :  493. 

Flashing  across  nearly  sixty  years  :  403. 

G 

George   Folsey    master   of   ceremonies   at  A.S.C. 

April  Gettogether:  194. 
Gregg  Toland  wins  photographic  honors  for  May  : 

274. 

General  Electric  issuinjs  meter  with  single  scale: 
327. 

H 

How   .Joe  Valentine  built   Alpine   crispness  into 

sea  level  shots  :  52. 
Herman  A.  DeVry  Company  celebrates  25  years 

in  business:  142. 
Haller  wins  critics'  award  for  best  photography 

during  March  :  183. 
Hessercolor  making  enlargements  from  35mm  color 

transparencies:  240. 
Here's  Camera  Club  in  real  home:  311. 

I 

Ingenious  accessories  simplify  special  effects 
shots:  408. 

J 

Jamieson  completes  portable  motion  picture  lab- 
oratory :  63. 

.Jackman   develops  color  i)rocess  and   will  expand 

plant  to  handle:  229. 
.J(jhn    Mescall    tells    how    Sonja    Henie's  skating 

brought  new  photographic  problems:  268. 


.James  Wong  Howe  wins  honor  for  his  photography 
on  "Algiers":  312. 

K 

Kalmus  tells  dramatic  story  of  Technicolor :  499. 

Karl  Freund  awarded  photographic  honors  by 
Academy  :  92. 

Kodak  issues  Kodachrome  in  cut  films  for  pro- 
fessionals :  450. 

L 

Laboratory  chiefs  disagree  with  cameramen:  491. 

Lighting:  54,   146,  234,  367,  407,  411. 

Low  key  lighting  may  be  as  easy  in  color  as  it 

is  in  monochrome :  146. 
Long  record  and  more  honor  for  Tony  Gaudio  on 

his  screen  work  :  230. 
Lens:  450. 

M 

Make-up   specialists   can   do   much   to   assist  the 

cinematographer :  13. 
Milner  makes  reply  to  Lubitsch  as  to  realism  :  94. 
Milner,  re-elected  A.S.C.  head,  pledges  cooperation 

to  industry:  185. 
Mitchell  Camera  nears  majority:  495. 
Meters:  226,  272.  327. 

Mate  blends  arcs  and  inkies  to  light  "Marco  Polo" 
stages  ;  234. 

Month's   photographic   honors   fall   to   Daniels  on 

"Marie  Antoinette"  :  366. 
Mole-Richardson  introduces  Duarc :  407. 
Midget  sun  is  1000-watt  mercury  lamp:  411. 
N 

Newsreel  photography  :  275. 

New  Berndt-Maurer  sound  track:  456. 

O 

Once  again  Frank  Lloyd  rings  bell:  6. 
Over  London  at  night  Elmer  Dyer  flies  on  nose 
of  British  Bomber:  57. 

P 

Polito  matches  daylight  with  arcs  in  Technicolor 
film  at  Warners  :  54. 

Press  agent  turned  picturemaker  would  put  sales 
stuff  in  script :  180. 

Papers  on  color  and  sound  get  play  from  Engi- 
neers Convention  :  196. 

Professional's  requirements  in  light  meters  await- 
ing inventor:  226. 

Process  Corporation  starts  business  in  new  struc- 
ture: 318. 


GOERZ 


REFLEX  FOCUSER 


A  BOON  to  16mm  MOVIE 


Cor 


Vsrn 


ELIMINATES  PARALLAX 

bi'liveen  Finder  aud  Letts — 
Provides  full-size 

G  RO  U  N  DG  LASS  IMAGE 

ttiagttified  10  times 

Adaptable  to  Lenses  3"  and  up — Also 
useful  as  extension  tube 

for  shorter  focus  lenses 

for  close-ups. 
Extensively  used  in  shooting  surgical 
operations,  small  animal  life.  etc. 

OTHER  GOERZ  MOVIE 

PRODUCTS: 
KINO-HYPAR  LENSES 
EFFECT  and  TRICK  DEVICES 
VIGNETTERS 
FOCUSING  MICROSCOPES 
VARIABLE  FIELD  VIEW 
FINDERS 

Address  Dept.  A.C.12 


C.P.GOERZ  AMERICAN  OPTICAL  CO. 


317  E.  34  St.  New  York,  N.  Y. 

American    Lens    Makers    Since  1899 


R 

Recording:  9,  16.  364. 

Research  Council  issues  sound  engineering  book: 
12. 

Research  Council  names  process  committee:  152. 
Reverse  studio  lighting  methods  to  put  big  night- 
spots on  screen  :  367. 
Reeves  single  system  sound  fits  any  camera:  455. 
S 

Summer  can't  be  far  away:  115. 
Shirley's    first    color    lighted    by    B-M's  Twin 
Broads:  498. 

Shooting  Technicolor  in  the  air  opens  new  field 

for  air  pictures  :  276. 
Sound:  364.  455,  456. 

Shooting  strange  men  and  scenes  just  day's  work 

for  Sid  Wagner:  361. 
Stillman  really  needs  four  cameras  today:  445. 
T 

Three  hundred  men  and  Walt  Disney :  48. 
Threescore  DeMille  productions  in  25  years  gross 

130  millions  :  136. 
Toland's  "Dead  End"  selected  in  caucus  as  one  of 

year's  three  best  photographed  pictures:  141. 
Tower  Pictures  make  first  sound   16mm  feature 

length  production  :  228. 
Travel  :   361,  399. 

Transfer  "River"  makers  to  National  Emergency 
Council:  371. 

V 

Vallee.  Bergen  and  Yacht  Club  Boys  entertain  at 

A.S.C.  home:  107. 
Valentine's  "Wings  Over  Honolulu"  rated  one  of 

three  in  year's  best:  187. 

W 

What  about  me'?:  51,  100,  145.  190,  232.  279. 
Working  in  air  by  Radiophone  thrills  Dyer :  98. 
Wadley  and  Rayton  discover  their  geometry  quite 

the  same:  189. 
Within  year  or  two  public   will  insist  on  color, 

says  Harkrider:  224. 
Warners    "Robin    Hood"    awarded  photographic 

honors  for  month  :  231. 
What  microphotography  is  doing  to  make  records 

for  coming  ages :  359. 
What  is  wrong  with  present  day  cinematography  ? : 

449, 

W.  Howard  Greene  wins  October  poll:  494. 


AMATEUR 


Amateur  cinematographers   seek   to   make  better 

motion  pictures  :  30. 
"As  the  Earth  Turns"  described:  515. 
Authority  on   "What   It  Takes"   writes  views  :m 

moviemaking:  81. 
Academy  awards  technical  honors :  120. 
Amateurs  have  speedy  film  like  the  professionals: 

123. 

American  amateur  honoi'ed  in  Canada:  131. 
.^nd  now  it's  a  little  academy:  202. 
Australian  amateurs  progressive:  290. 
Airman  catches  color  pictui-e  of  plane's  rainbow- 
circled  shadow:  291. 
Aerial:  291. 

Among  the  movie  clubs:  304,  334,  338,  341. 
Amateur  who  works  out  details  of  picture  first 

is  best  started  :  347. 
And  the  stills  are  still  with  us:  378. 
Agfa  announcing  F';6.3  Clipper  Special;  477. 
Agfa  announces  two  tripods  for  amateurs:  482.  .. 
B 

Bell  &  Howell  has  novel  8mm  film  viewer:  29. 
Bell  &  Howell   producing   four  film-on-sound  pro- 
jectors:  31. 

Bell  &  Howell's  Filmo  Turret  8  is  ready:  519. 
Hausch  &   Lomb's  Metrogon  lens  triples  field  in 

the  air:  124. 
Bell  &  Howell    announces    16mm    projector  with 

powerful  arc  :  206. 
Be  kind  to  Old  Man  Tempo:  208. 
Big   four   day    gathei-ing  set   for   conference  on 

visual  education  :  215. 
Bangup  homemade  bangaround  beanpole  tripod  for 

car  or  canoe  :  336. 
Bell  &  Howell  introduces   unique   16mm  magazine 

loading  camera :  342. 
Boris   Morros   at   Paramount   lectures   to  U.S.C. 

students  :  345. 
Bell  &  Howell  introduces  Filmo  8  candid  carrying 

case  for  speed :  393. 

C 

Cinematographers  1937  Annual  Movie  Contest:  26. 

Camera  accessories  and  equipment:  29,  31,  336, 
346,  470.  479. 

Cameras:  36,  166,  334,  342,  433,  477. 

Columbia  Studio  professionals  barred  by  Cubs 
from  regular  work  :  72. 

Competitors  in  Cinematographer  Contest  gave 
jury  plenty  to  do:  74. 

Color  in  broadcasting  studied  by  Hollywood  Tele- 
vision Society ;  160. 

Cine  Kotlak  secure.-,  added  I'ange  in  new  F^astman 
focusing  finder:  205. 


December,  1938    •    American  Cinematographer  527 


Cinema    Club    sees    Elton    Walker's  remarkable 

Yellowstone  scenic  ;  254. 
Color:  291,  302,  387. 

Canadians    pack    sports    arena    to    see  Duncan 

Little's  film  of  race:  385. 
Close-up  story  filminK:  467. 

Cinema  music  classes  added  to  U.S.C.'s  list:  47!). 
D 

DuPont  issues   16mm.   regular  pan   as  reversible 

film  for  amateurs:  264. 
Don't  let  the  weather  that  is  "unusual"  friKhten 

you  from  color,  says  cameraman  :  302. 
Developing :  476. 

E 

Eastman  issues  new  Model  Miniature  Camera  in 

Retina  II:  36. 
Enfilishman  analyzes  American  film  makers:  37. 
Equipment:  70,  17C,  175,  205,  482. 
Expert  describes  General  Electric's  new  meter:  118 
European  product  Eumig  C4  8mm.  Camera  enters 

American  market:  166. 
Eastman  makes  enlarjter  for  16mm.  frames:  176. 
Editorials:  158,  202.  290,  378,  422. 
Editing:  298,  474. 

Eastman  brings  out  Super  Six-20  coupling  photo- 
cell with  aperture:  334. 

Eastman  adds  three  members  to  fast  expanding 
Bantam  family  :  344. 

Eastman  releases  three  minicam  high  speed  and 
fine  grain  films:  389. 

Eastman  Kodak  issues  230-page  book  "How  to 
make  good  Movies" :  391. 

Eastman  issues  long  focus  f:6.3  lens  of  EKtar 
series  :  423. 

Eastman  issues  series  of  moderate  priced  35mm.  : 
484. 

Eastman's  16mm.  Super  XX  now  ready :  523. 
P 

"Film  and  School"  textbook  teaches  screen  evalu- 
ation :  78. 
Film:  125,  219,  264,  389,  484. 

Features  and  participants  ready  for  Visual  Edu- 
cation Conference:  261. 

Film  your  home  guest  in  story  and  thereby  avoid 
sheepish  grins  :  300. 

Filtei-s:  340. 

Filming  unusual  travelogue  with   background  of 

everchanging  ocean  :  383. 
Filming  pigskin  battles  no  cinch:  429. 
Fo.x  installs  new  make-up  lamps ;  479. 
Filming  small  game:  511. 

G 

Good  program  at  well  attended  Ninth  Movie 
Party:  174. 

Gadgetteers   stage   regular  parade   of  handiwork 

at  Los  Angeles  8mm:  338. 
G-E  announces  change  in  its  exposure  meter  :  435. 
Giving  wings  to  camera:  466. 

H 

High  School  lad  finances  his  films  :  39. 
Here's  the  answer:  41,  213. 

Here's   complete  musical  score  for  International 

Prize  Winners :  79. 
"Hints   and   Gadgets"   contains   tips   to  working 

cameraists  :  85. 
High  School  productions   in   Little's   9th  Annual 

Party:  124. 

Helm  invents  portable  cinema  testing  set-up:  175. 
How  Movie  Clubs  may  profit  by  maintaining  a 

stock  shot  library:  212. 
Here's  filmer's  chance  to  take  advantage  of  early 

summer  rain:  214. 
Hollywood  Motion  Picture  Forum  holds  successful 

fourth  meeting:  335. 
How    I   made   a    16mm   $25    camera    dolly  that 

yielded  smooth  shots :  346. 
How  to  control  lighting  without  as  well  as  well 

as  where  sun  is  barred :  386. 
Hawaii  camera  paradise  of  the  Pacific :  423. 
I 

It  ain't  goin'  to  rain  no  more:  158. 
"I  visioned  the  interest  of  children"  says  Pioneer: 
252. 

It's  "The  plan's  the  thing"  if  you  seek  to  insure 

better  pictures  :  257. 
It  won't  be  long  now  :  422. 
It  gets  in  your  blood :  471. 
Injecting  story  interest  in  non-drama  :  520. 
K 

Kodak  i-ssues  three  tripod  accessories :  470. 

L 

Leica  suggests  gunstock  in  place  of  tripod:  117. 
I^ens:  124,  253,  479. 

IjCgibility  and  pictorial  value  lead  desirable  title 

<iualities:  171. 
Lighting:  386,  483. 

Little's  subscription  evenings  end  good  year  and 

will  continue:  256. 
Los   Angeles   8mm   clubbers   have   crowded  July 

meeting:  341. 

M 

Must  be  practical  plan  for  educationals'  distribu- 
tion:  38. 

Major  theatre  sound  apparatus  put  behind  home 

16mm  projection:  70. 
Meters:  118,  2.56,  435. 

Micro  Movies  most  etiicient  research  tool;  162. 
Make-up    as    aid    to    amateurs    is    described  by 

veteran  specialist:  337. 
Make  show  cater  to  non-film  visitors:  437. 
Midget  sun   is  1000-watt  cigarette  size  mercury: 

483. 


N 

Notes    of   the    Movie   Clubs:    34,    86,    121,  167, 
209,  481. 

National  Archives   will  preserve  motion  pictures 

for  generations:  217. 
New  Super  Panchro-Press   film   is  announced  by 

Eastman  Kodak  Co. :  219. 
New  Kodachrome  exposure  guide  covers  all  picture 

situations  :  260. 
No  vacation  more  appealing  than  mountain  pack 

trip  with  camera :  292. 
New  Bell  &  Howell  titler  designed  for  use  with 

Filmo  8mm  :  307. 
Nothing    mysterious    about    filters    but    don't  u^c 

too  many  at  first :  340. 
Notes  from  the  Movie  Clubs :  526. 

O 

One  Cine  dream  comes  true:  427. 
128-page  book  records  Visual  Education  meet:  478. 
P 

Projection  :  31,  206.  339. 

Phototours  to  Europe  will   mark   innovation  for 

amateur  filmers:  161. 
Problems  of  filter  simplified  by  reducing  number 

to  two  or  three:  258. 
President  and  vice  president  of  Spencer  Lens  visit 

western  area:  301. 
Preparing  small  car  for  chases:  432. 
Plan  your  dramas :  480. 

R 

Rare  65-pound   quartz   crystal   comes   to  Bauseh 
&  Lomb:  303. 

Roundup  with  crowding  thrills  just  perfect  film- 
er's paradise :  379. 

Raising  stills  from  16mm  frames:  476. 

S 

Sherlock  of  Australia  winner  of  Cinematographers 

Contest:  26. 
Summer  can't  be  far  away:  115. 
Story  of  the  making  of  "Solar  Pelexus"  award 

winner  of  International  Contest:  128. 
Stiinley    and    Maryjane    Bean    tell    of  making 

scenario  films:  169. 
Strikingly  good  show  was  that  of  International 

Amateur  Movie ;  204. 
Scenarios:  214,  169,  467. 

Screen    brightness    is    increased    25    percent  by 

"Anastigmatic"  lens:  253. 
"Sound    Engineering"    splendid    up-to-date  text 

book :  297. 


FOR  SALE 


WALL  SINGLE  SYSTEM,  COMPLETE;  rebuilt 
B  &  H  sound  printers:  rebuilt  Duplex  sound 
and  picture  printers ;  200  ft.  Stinemann  devel- 
oping reels;  used  measuring  machines.  Com- 
plete Akeley  camera  equipment.  Akeley  1000-ft. 
magazines,  synchronous  camera  motors.  Motors, 
sunshades,  finders,  lenses  and  all  accessories. 
Write,   wire  or  cable : 

MOTION   PICTURE   CAMERA    SUPPLY,  INC. 

723  Seventh  Avenue  New  York  City 

Cable:  Cinecamera 

THE  WORLD'S  LARGEST  VARIETY  OF 
Studio  and  Laboratory  equipment  with  latest 
improvements  as  used  in  Hollywood  at  tremen- 
dous savings.  New  and  Used.  Mitchell,  Bell- 
howell,  Akeley,  De  Brie,  Eyemo,  animation 
process  cameras,  lenses,  color  magazines,  adapt- 
ors, lighting  equipment,  silencing  blimps,  dollies, 
printers,  splicers,  moviolas,  motors,  light-testers, 
gear  boxes,  synchronizers.  Guaranteed  optically 
and  mechanically  perfect.  Send  for  bargain 
catalogue. 

HOLLYWOOD  CAMERA  EXCHANGE 
1600  Cahuenga  Blvd..  Hollywood,  Calif. 

Cable:  Hocamex 

BELL  AND  HOWELL  170°  CAMERAS— High 
speed  shuttles — high  speed  gear  boxes — 400  and 
1000  foot  Bell  &  Howell  magazines — Bell  & 
Howell  tripods — motors.  Mitchell  silenced  cam- 
eras. AKELEY  and  DEBRIE  CAMERAS.  Akeley 
motors.  High  speed  motors.  Sunshades,  lenses 
and  finders. 

Write  or  Wire 
CAMERA  EQUIPMENT  COMPANY 
1600  Broadway  New  York  City 

Tel.  Circle  6-5080  Cable:  Cinequip 


NEW  PRECISION  TEST  REEL  FOR  PROJEC- 
tion,  and  Sound.  Developed  by  prominent  SMPE 
member.  Combination  visual,  sound  tests  for 
all  soundtrack  adjustments.  Indicates  travel 
ghost,  sidesway,  picture  jump,  etc.  Contains 
visual  targets  and  constant  level  frequencies. 
W.  E.  Mirrophonic  recording.  Truly  simpli- 
fied, easily  understood.  Comparative  value, 
$75.00.  With  full  instructions,  $29.50.  16mm 
edition,  $17.5^S.O.S.,  636— 11th  Ave.,  New  York. 

KOR  SALE  Late  model  Bell  &  Howell  35nini, 
professional  camera  complete.  Joseph  Tilton. 
920  South  Aiken  Ave.  Pittsburgh.  Pennsylvania. 


Sherlwk  of  .Sydney  describes  how  he  edits  and 
titles  his  pictures :  298. 

600  users  and  makers  of  school  and  business  films 
get  together:  345. 

Stith-Noblo  scores  advances  in  matching  guality 
in  Kodachrome:  387. 

Study  your  cine  titler  and  note  variety  of  close- 
ups  it  reveals:  390. 

Systematic  eijiting  of  movie  film  for  the  amateur: 
474. 

Spencer  Lens  develops  color  projector :  523. 
T 

There  are  thrills  aplenty  for  he  who  dramatizes 
iron  horse:  32. 

To  the  Ships  of  Sydney  titles:  114. 

"Trick  photography"  issued  by  American  Pub- 
lishing: 131. 

Tales  of  sea  lead  program  at  Little's  Sixth  eve- 
ning: 164. 

Three  Cinematographer  awards  on  International 

Show  program :  170. 
Titling:  296,  298.  307,  390,  434. 
Teorey  tells  how  he  titled  his  "Golf  Widow"  with 

bookleaves :  296. 
Travel :  383. 

Two    manufacturers    suggest    still    cameras  as 

auxiliaries  to  movies:  388. 
Television,  slowly,  surely:  510. 

U 

U.S.C.'s  film  business  course  is  away  to  brilliant 
beginning:  203. 

Universal  issues  new  8mm  model:  433. 

Unseld  now  assistant  to  Bell  &  Howell's  advertis- 
ing chief:  473. 

V 

Visual  recreation  has  definite  value  to  adult  and 
young  alike:  248. 

Visual  educator  must  keep  pace  with  rapid  ad- 
vance of  projector :  339. 

W 

When  Chaplin  landed  lOG  a  week:  247. 

Western  issues  Junior  type  for  amateurs  seeking 

smaller  meters:  256. 
Wabash  photolamp  announces  two  small  flashbulbs 

for  fast  film  :  262. 
Wright  with  Bell-Howell  as  sales  publicity  chief: 

308. 

When  superimposing  titles:  434. 


WE  BUY,  SELL  AND  RENT  PROFESSIONAL 
AND  16  mm  EQUIPMENT  NEW  AND  USED. 
WE  ARE  DISTRIBUTORS  FOR  ALL  LEAD- 
ING MANUFACTURERS.  RUBY  CAMERA 
EXCHANGE,  729  Seventh  Ave.,  New  York  City. 
Established  since  1910. 


AKELEY  CAMERA,  5  mags.  2-6-12"  lenses,  3 
cases ;  tripod ;  $475.00.  Eyemo  Turret,  400  ft. 
mags.,  3  lenses:  cases;  tripod;  motor;  com- 
plete. 2000w.  flood-spotlights,  cost  $165.00,  for 
$55.00  each.  Floodlights  with  lOOOw.  bulbs, 
$35.00  each ;  other  good  buys. 

CAMERA  MART  INC. 

70  West  45th  Street  New  York  City 


RECONDITIONED  DUPLEX  PRINTER.  Avail- 
able with  sound  printing  head  if  desired. 
Reasonable. 

FRIED  CAMERA  CO. 
6156  Santa  Monica  Blvd. 
Hollywood,  Calif. 
Cable  Address:  FRIEDCAMCO 


WANTEa) 


WE  PAY  CASH  FOR  EVERYTHING  PHOTO- 
GRAPHIC. Write  us  today.  Hollywood  Camera 
Exchange.   1600  Cahuenga  Blvd.,  Hollywood. 


WANTED  TO  BUY  FOR  CASH 
CAMERAS  AND  ACCESSORIES 
MITCHELL,  B  &  H,  EYEMO,  DEBRIE,  AKELEY 
ALSO    LABORATORY   AND  CUTTING  ROOM 
EQUIPMENT 
CAMERA  EQUIPMENT  COMPANY 
1600  BROADWAY,  NEW  YORK  CITY 
CABLE:  CINEQUIP 


WANTED— 2  SILENCED  MITCHELL  CAMERAS 
with  equipment.  Cash  paid. 

CAMERA  EQUIPMENT  COMPANY 
1600  Broadway,  New  York  City 
Cable:  CINEQUIP  Tel.  Circle  6-5080 

WANT  TO  BUY  FOR  CASH 
MITCHELL  CAMERAS  AND  ACCESSORIES 
Write,  wire  or  cable 
MOTION    PICTURE    CAMERA   SUPPLY.  INC. 
723  Seventh  Avenue,  New  York  City 
Cable  Address:  Cinecamera 


CLASSIFIED  ADVERTISING 


528     American  Cinematographer  • 


December,  1938 


Ready  FOR 

Here  is  the  first  picture 
published  of  the  new,  im- 
proved De  Vry  1939  Sound 

Recording  Camera.  It  con-  ^SU^k. 

tains    the    many    features  ^^S^^m^t^^^ 
which   have   already    made  ml^^^t^Si^^f^^t^ 
a                   with    news-  ffi^^B^^Hl^^H^B 

reelers   and   other   photog-  W^B^^^Kv^^^^m 
raphers  who  demand  reli-  ^L^^^^^^^^^^B^^^H^^ 

ability,    versatility,   and    a               ^JH^^fR^  ^ 

sound  camera   requiring  a  ■SSS^^ 

minimum    of    adjustments                   BflSii..  tfjl^PBS^^^ 
.  .  .  ready  for  any  W 

emergency.  Camera-  ■M^BEflHlv'.lSldESW^^^^^ 
men  will  appreciate,  ^^^^KB^tSr^iKf^^S^' 
too.   the   new,  bril-          ^^^^^^^^r  ^^l^t^^ 
liant,  f  u  1  1  -  V  i  e  w           ^^^^^Pl^r  i^H^^ 

finder,    which    per-           ^^B^^^^^       %"  B^^^l 

mits  easy  following  i 
of    action.    May  * 
used  with  sunshade 
.  .  .  quickly  swung 

out  of  place  for  threading,      De  Vrv  also  manufactures  a 
without    the    necessity    of                                  c    -y  £.  j 
re-setting  parallax  adjust-      ^"Je    range    of    16mm.  and 
nients.    May   be  used   for      35mm.  sound  and  silent  cam- 
bi-pack  color,  double-system      ^^^^           projectors.  Send  for 
recording,  or  single-system  j 
newsreel-type  work.  details. 

DeVRY  corporation 

DEPT.  J-2        :       1 1 1 1  ARMITAGE  AVENUE       ;  CHICAGO 

AMERICAN 

Cinematographer 

HAND  BOOK  and 
REFERENCE  GUIDE 

SECOND  EDITION 

Written  and  Compiled  by 

JACKSON  J.  ROSE.  A.S.C. 

...  PRICE  $3.00  ... 

American  Society 
of  Cinematographers 

1782  North  Orange  Drive      Hollywood,  ColUomia 


Ci)rt5tma6 

Color  pictures 


Reg.  U.  S.  Pat.  Off. 


GLASS-BEADED  SCREENS 

You  will  want  it  in  color — your  picture  record 
of  Christmas — your  family  opening  gifts,  your 
home  with  its  wreaths,  mistletoe  and  lighted 
tree!  And  you'll  want  your  pictures  shown  on 
the  screen  that  does  full  justice  to  your  pic- 
ture-taking skill!  The  Da-Lite  Glass-Beaded 
Screen  shows  all  of  the  beautiful  gradations  of 
colors  with  ''^camera-eye'''  fidelity.  It  makes 
any  pictures — color  or  black  and  white — 
brighter,  clearer  and  more  realistic. 

Although  Da-Lite  makes  screens  with  all  types 
of  surfaces,  the  Da-Lite  Glass-Beaded  surface 
is  recommended  as  the  most  efficient  for  aver- 
age requirements. 

Da-Lite  Glass-Beaded  Screens  are  ideal  Christ- 
mas gifts  for  your  family  or  your  picture- 
taking  friends.  They  are  available  in  many 
styles  including  the  Challenger  with  tripod 
attached  which  can  be  set  up  in  15  seconds, 
the  Model  D  box  type  screen  and  a  variety  of 
hanging  screens.  Prices  range  from  $2.50  up. 
Ask  for  a  demonstration  at  your  dealer's 
today!   Write  for  literature! 

DA-LITE  SCREEN  CO.,  INC. 

Manufacturers  of  Theatrical  and  IS  on-Professional 
Screens  with  All  Types  of  Surfaces  and  Mountings 

DEPT.   I2AC,  2723  NORTH  CRAWFORD  AVENUE,  CHICAGO,  ILL. 


MITCHELL'S... 


years  of  technical  knowledge  and  experience 
developed  the 


Mitchell  Camera... 

the  standard  of  quality  in  the  motion  picture 
industry. 

The  same  technical  knowledge  and  experience 
has  developed  the 

Mitchell  Recorder... 

which  in  the  short  time  it  has  been  available  is 
already  reaching  the  same  high  place  in  the 
talking  picture  field 


Mitchell  Camera  Corporation 

665    NORTH    ROBERTSON  BOULEVARD 
WEST    HOLLYWOOD.  CALIF. 

Cable  Address  "MITCAMCO"  Phone  OXford  1051 

AGENCIES 

BELL  &  HOWELL,  LTD.,  London,  England                      MOTION  PICTURE  CAMERA  SUPPLY  CO.,  New  York  City 

CLAUD  C.  CARTER.  Sydney.  Australia  BOMBAY  RADIO  CO.,  LTD.,  Bombay.  India 

D.  NAGASE  &  CO..  LTD..  Osaka,  Japan  H.  NASSIBIAN.  Cairo.  Egypt 


t 


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